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An homage to Simon Hantaï, the abstract painter who in the 1960s came up with this technique which bears more resemblance to the indigo tie-dye fabric arts of Shibori and Bogolan. 

The canvas was folded and clipped 150 times then painted and unfolded to reveal this intricate web pattern of the unpainted portions which happens to also resemble a flock of birds taking flight. This hand-stretched acrylic painting was made on raw unprimed canvas, which is a light beige rather than a stark bright white. The contrast of the intense ultramarine blue gives the illusion that the negative spaces are white. The pattern continues around the four edges.

The title full of optimism is a line from Nina Simone’s song, “Feeling Good”. I did this painting just three weeks before the end of the most incompetent and deadly presidency the United States has ever suffered through, the month of the first vaccinations against the virus that has killed so many. There are reasons to be hopeful now.
An homage to Simon Hantaï, the abstract painter who in the 1960s came up with this technique which bears more resemblance to the indigo tie-dye fabric arts of Shibori and Bogolan. 

The canvas was folded and clipped 150 times then painted and unfolded to reveal this intricate web pattern of the unpainted portions which happens to also resemble a flock of birds taking flight. This hand-stretched acrylic painting was made on raw unprimed canvas, which is a light beige rather than a stark bright white. The contrast of the intense ultramarine blue gives the illusion that the negative spaces are white. The pattern continues around the four edges.

The title full of optimism is a line from Nina Simone’s song, “Feeling Good”. I did this painting just three weeks before the end of the most incompetent and deadly presidency the United States has ever suffered through, the month of the first vaccinations against the virus that has killed so many. There are reasons to be hopeful now.
An homage to Simon Hantaï, the abstract painter who in the 1960s came up with this technique which bears more resemblance to the indigo tie-dye fabric arts of Shibori and Bogolan. 

The canvas was folded and clipped 150 times then painted and unfolded to reveal this intricate web pattern of the unpainted portions which happens to also resemble a flock of birds taking flight. This hand-stretched acrylic painting was made on raw unprimed canvas, which is a light beige rather than a stark bright white. The contrast of the intense ultramarine blue gives the illusion that the negative spaces are white. The pattern continues around the four edges.

The title full of optimism is a line from Nina Simone’s song, “Feeling Good”. I did this painting just three weeks before the end of the most incompetent and deadly presidency the United States has ever suffered through, the month of the first vaccinations against the virus that has killed so many. There are reasons to be hopeful now.
An homage to Simon Hantaï, the abstract painter who in the 1960s came up with this technique which bears more resemblance to the indigo tie-dye fabric arts of Shibori and Bogolan. 

The canvas was folded and clipped 150 times then painted and unfolded to reveal this intricate web pattern of the unpainted portions which happens to also resemble a flock of birds taking flight. This hand-stretched acrylic painting was made on raw unprimed canvas, which is a light beige rather than a stark bright white. The contrast of the intense ultramarine blue gives the illusion that the negative spaces are white. The pattern continues around the four edges.

The title full of optimism is a line from Nina Simone’s song, “Feeling Good”. I did this painting just three weeks before the end of the most incompetent and deadly presidency the United States has ever suffered through, the month of the first vaccinations against the virus that has killed so many. There are reasons to be hopeful now.
An homage to Simon Hantaï, the abstract painter who in the 1960s came up with this technique which bears more resemblance to the indigo tie-dye fabric arts of Shibori and Bogolan. 

The canvas was folded and clipped 150 times then painted and unfolded to reveal this intricate web pattern of the unpainted portions which happens to also resemble a flock of birds taking flight. This hand-stretched acrylic painting was made on raw unprimed canvas, which is a light beige rather than a stark bright white. The contrast of the intense ultramarine blue gives the illusion that the negative spaces are white. The pattern continues around the four edges.

The title full of optimism is a line from Nina Simone’s song, “Feeling Good”. I did this painting just three weeks before the end of the most incompetent and deadly presidency the United States has ever suffered through, the month of the first vaccinations against the virus that has killed so many. There are reasons to be hopeful now.

212 Views

16

View In My Room

Birds Flying High, You Know How I Feel Painting

Christine So

United States

Painting, Acrylic on Canvas

Size: 32 W x 32 H x 0.8 D in

Ships in a Box

SOLD
Originally listed for $640

212 Views

16

Artist Recognition
link - Showed at the The Other Art Fair

Showed at the The Other Art Fair

link - Artist featured in a collection

Artist featured in a collection

ABOUT THE ARTWORK

An homage to Simon Hantaï, the abstract painter who in the 1960s came up with this technique which bears more resemblance to the indigo tie-dye fabric arts of Shibori and Bogolan. The canvas was folded and clipped 150 times then painted and unfolded to reveal this intricate web pattern of the unpainted portions which happens to also resemble a flock of birds taking flight. This hand-stretched acrylic painting was made on raw unprimed canvas, which is a light beige rather than a stark bright white. The contrast of the intense ultramarine blue gives the illusion that the negative spaces are white. The title full of optimism is a line from Nina Simone’s song, “Feeling Good”. I did this painting just three weeks before the end of the most incompetent and deadly presidency the United States has ever suffered through, the month of the first vaccinations against the virus that has killed so many. There are reasons to be hopeful now. There is a wire on the back making it ready to hang immediately. The pattern continues around the four edges.

DETAILS AND DIMENSIONS
Painting:

Acrylic on Canvas

Original:

One-of-a-kind Artwork

Size:

32 W x 32 H x 0.8 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Clients include: Timothée Chalamet, Starbucks, Ritz Carlton, Mayo Clinic, Jumaira Resort (Dubai), Wyndham Worldmark Hotels, Kimpton Hotel Monaco, Evercore NY, Apollo Global Management, NY, Mazars Accounting NY, Limelight Mammoth Hotel & Residences, MD Anderson Hospital, Houston Methodist Hospital, Oakland International Airport. Christine So is a painter, photographer and printmaker living across the San Francisco Bay in the hills of Oakland, California. Her works are heavily inspired by the woods where she has lived and hiked for decades. She works in acrylic and in the antique photographic process of cyanotypes. She creates botanical and abstract prints without a camera lens, as well as hand-printed landscape photographs of the foggy woods where she lives. Whether it’s painting, printmaking, or photography, her work is always nature-inspired and nearly always monochromatic. She has worked in a dozen mediums, cycling back and forth from painting to printmaking to cyanotype, applying effects from one medium to the next. She bridges the mediums of photography, monoprinting and painting. Her favorite question when working in the antique photographic process of cyanotypes is “What would happen if…?” She has devised a range of atypical techniques using the cyanotype process. Arguably the most striking of her unique methods are her cyanotype paintings in her Delft Garden series. The painted silhouettes of plants each contain an intricate blue and white pattern within them when viewed up close.The lengthy process begins as a pencil drawing which is then painted in–not with ink or paint–but with the cyanotype light-sensitive mixture in a dark room. It’s a tricky process as it’s hard to see what one is painting in very dim light. Days later once the photography chemicals have dried in the painting, she lays plants on top of the painted silhouette in a pattern that will leave gaps similar to lace. She then carefully moves the entire bundle outside and exposes the pattern to sunlight to create the image-within-the-image. The blue and white pattern seen in each leaf resembles painted Delft pottery, thus the title of this series: Delft Garden. Another of the artist’s innovative techniques is her series of completely abstract cyanotypes printed without photo negatives or stencils.

Artist Recognition
Showed at the The Other Art Fair

Handpicked to show at The Other Art Fair presented by Saatchi Art in Los Angeles

Artist featured in a collection

Artist featured by Saatchi Art in a collection

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