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Featured in Saatchi Art’s “New This Week” collection for two weeks in January, 2021. 

Inspired by the simple shapes of Ellsworth Kelly, the grid paintings of Agnes Martin and the tapestries of Anni Albers, there is a clean and bright glow to this painting. All is in perfect order. There is none of the chaos of the present world’s state.

I used my own hand-cut stencils to achieve the crisp edges of the leaf shapes, giving the look almost of a screen print. The white paint was applied over the very smooth gold undercoat which shines through in the repeated shapes.

1 1/2 inch deep sides are painted the same bright white as the front. In direct light the gold is pale in color while with lights off it appears darker.
Featured in Saatchi Art’s “New This Week” collection for two weeks in January, 2021. 

Inspired by the simple shapes of Ellsworth Kelly, the grid paintings of Agnes Martin and the tapestries of Anni Albers, there is a clean and bright glow to this painting. All is in perfect order. There is none of the chaos of the present world’s state.

I used my own hand-cut stencils to achieve the crisp edges of the leaf shapes, giving the look almost of a screen print. The white paint was applied over the very smooth gold undercoat which shines through in the repeated shapes.

1 1/2 inch deep sides are painted the same bright white as the front. In direct light the gold is pale in color while with lights off it appears darker.
Featured in Saatchi Art’s “New This Week” collection for two weeks in January, 2021. 

Inspired by the simple shapes of Ellsworth Kelly, the grid paintings of Agnes Martin and the tapestries of Anni Albers, there is a clean and bright glow to this painting. All is in perfect order. There is none of the chaos of the present world’s state.

I used my own hand-cut stencils to achieve the crisp edges of the leaf shapes, giving the look almost of a screen print. The white paint was applied over the very smooth gold undercoat which shines through in the repeated shapes.

1 1/2 inch deep sides are painted the same bright white as the front. In direct light the gold is pale in color while with lights off it appears darker.
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Dreaming of the Spring (featured)
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Dreaming of the Spring (featured) Painting

Christine So

United States

Painting

Size: 36 W x 36 H x 1.5 D in

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About The Artwork

Featured in Saatchi Art’s “New This Week” collection for two weeks in January, 2021. Inspired by the simple shapes of Ellsworth Kelly, the grid paintings of Agnes Martin and the tapestries of Anni Albers, there is a clean and bright glow to this painting. All is in perfect order. There is none of the chaos of the present world’s state. I used my own hand-cut stencils to achieve the crisp edges of the leaf shapes, giving the look almost of a screen print. The white paint was applied over the very smooth gold undercoat which shines through in the repeated shapes. 1 1/2 inch deep sides are painted the same bright white as the front. In direct light the gold is pale in color while with lights off it appears darker.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:36 W x 36 H x 1.5 D in

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

My works are always nature-inspired and nearly always monochromatic. Each one is an immersion in a single color, an ode to that shade. The Japanese have the expression "forest bathing" and I engage in a sort of "color bathing." To me, many colors is visually noisy. An image of shades of just one color exudes calm, balance and focus. Having spent a decade carving block prints and practicing monochrome photography, monochrome is how my mind works. I focus on one color at a time, the balance of positive and negative space, patterns, lines and cutout shapes. I am attracted to monochrome, much like the Colorfield painters of the mid-twentieth century were, and to other abstract painters who worked in monochrome and pattern like Alma Thomas, Simon Hantai, Agnes Martin, Anni Albers and Joseph Albers. My recent abstract acrylic paintings of monochromatic patterns have a heavy contrast of positive and negative space in the way that cut paper collages and block prints do. I actually hand-cut the shapes out of adhesive masking film first and then decide the arrangement, rather like a mosaic on the blank canvas. Lastly I paint over and around the masked areas with either transparent ink or opaque paint. What begins as a collage ends as a painting. The result of this method resembles a large monoprint or silkscreen on canvas, but a silkscreen whose stencil was constructed of 200 separate tiny pieces rather than cut from a whole. My unique process was inspired by the years of printmaking I have done, especially monotypes and linocuts. But I also draw inspiration from the cyanotype process of capturing silhouettes of objects, West African and Japanese indigo fabric dying, Simon Hantaï’s folded canvas paintings, and Henri Matisse’s cut-paper collages of leaves. I cycle between the three mediums of printmaking, collage and painting, applying aspects and techniques from one medium to the other. After years making woodcuts, linocuts, etchings and monotypes, I now use the medium of cyanotypes to mimic techniques of multi-plate prints and use my prints to create collages on panel. My abstract paintings are in turn influenced by the repeating patterns in nature of my botanical prints and also by the highly structured geometric patterns in my collages of cut cyanotypes.

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Artist featured in a collection

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