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Where I hike in the hills of Northern California, the color of the gently rounded hills changes from green to yellow to brown with the seasons. By summer the wild grass is so tall that it bends and blows with the wind like waves in the ocean or a sea of golden yellow. This larger painting was made via a similar technique as my previous blue study titled ‘The Wide Open Sea.’ It is reminiscent of a block printed cloth or wax-resist batik. I used hundreds of tiny hand cut stencil masks adhered one by one and then brushed fluid paint over them to give the sense of fabric dye over a painted wax design. The under layer is actually a variety of very pale shades of yellow and not a solid flat white, giving a sense of undulating ripples. The 1.5 inch deep sides of the canvas are a clean white.
Where I hike in the hills of Northern California, the color of the gently rounded hills changes from green to yellow to brown with the seasons. By summer the wild grass is so tall that it bends and blows with the wind like waves in the ocean or a sea of golden yellow. This larger painting was made via a similar technique as my previous blue study titled ‘The Wide Open Sea.’ It is reminiscent of a block printed cloth or wax-resist batik. I used hundreds of tiny hand cut stencil masks adhered one by one and then brushed fluid paint over them to give the sense of fabric dye over a painted wax design. The under layer is actually a variety of very pale shades of yellow and not a solid flat white, giving a sense of undulating ripples. The 1.5 inch deep sides of the canvas are a clean white.
Where I hike in the hills of Northern California, the color of the gently rounded hills changes from green to yellow to brown with the seasons. By summer the wild grass is so tall that it bends and blows with the wind like waves in the ocean or a sea of golden yellow. This larger painting was made via a similar technique as my previous blue study titled ‘The Wide Open Sea.’ It is reminiscent of a block printed cloth or wax-resist batik. I used hundreds of tiny hand cut stencil masks adhered one by one and then brushed fluid paint over them to give the sense of fabric dye over a painted wax design. The under layer is actually a variety of very pale shades of yellow and not a solid flat white, giving a sense of undulating ripples. The 1.5 inch deep sides of the canvas are a clean white.
Where I hike in the hills of Northern California, the color of the gently rounded hills changes from green to yellow to brown with the seasons. By summer the wild grass is so tall that it bends and blows with the wind like waves in the ocean or a sea of golden yellow. This larger painting was made via a similar technique as my previous blue study titled ‘The Wide Open Sea.’ It is reminiscent of a block printed cloth or wax-resist batik. I used hundreds of tiny hand cut stencil masks adhered one by one and then brushed fluid paint over them to give the sense of fabric dye over a painted wax design. The under layer is actually a variety of very pale shades of yellow and not a solid flat white, giving a sense of undulating ripples. The 1.5 inch deep sides of the canvas are a clean white.
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Summer Hills Painting

Christine So

United States

Painting, Acrylic on Canvas

Size: 36 W x 36 H x 1.5 D in

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SOLD
Originally listed for $900
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Showed at the The Other Art Fair

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About The Artwork

Where I hike in the hills of Northern California, the color of the gently rounded hills changes from green to yellow to brown with the seasons. By summer the wild grass is so tall that it bends and blows with the wind like waves in the ocean or a sea of golden yellow. This larger painting was made via a similar technique as my previous blue study titled ‘The Wide Open Sea.’ It is reminiscent of a block printed cloth or wax-resist batik. I used hundreds of tiny hand cut stencil masks adhered one by one and then brushed fluid paint over them to give the sense of fabric dye over a painted wax design. The under layer is actually a variety of very pale shades of yellow and not a solid flat white, giving a sense of undulating ripples. The 1.5 inch deep sides of the canvas are a clean white.

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.

Clients include: Timothée Chalamet, Starbucks, Mayo Clinic (Jacksonville), Jumaira Resort, Lux Habitat Sotheby’s International (Dubai), Wyndham Worldmark Hotels, Kimpton Hotel Monaco (Salt Lake City) , Mazars Accounting, Limelight Hotel Mammoth (California), MD Anderson Hospital (Houston), Oncology Center, Houston Methodist Hospital. For a complete list of my corporate clients, visit the "About" page of my website www.christineso.gallery/ To see videos of my artistic process, visit me on instagram at @christinesogallery I live in the woods in northern California looking out across the San Francisco Bay towards the hills of Marin, San Francisco and Angel Island. The distant blue hills of my “Faraway Hills” series are ever-present fixtures in my real life. Down below is the bay and above is an endless web of tree branches. Their silhouettes have etched themselves into my memory. My paintings and prints are always nature-inspired and nearly always monochromatic. Having spent a decade as a printmaker making woodcuts, linocuts, etchings, aquatints and monotypes, my mind works in monochrome. I focus on a single color, composition, positive and negative space, pattern, lines and shape. I currently work in two mediums, acrylic painting and cyanotypes, a form of camera-less photography. Cyanotypes are a 19th century form of lensless photography also known as photograms, blueprints and sun prints. They resemble block prints or etchings but use no ink nor printing press. Light “etches” the image on paper I had painted with light-sensitive chemicals. MY NEWEST SERIES OF ABSTRACT CYANOTYPES: My technique is a form of experimental photography, much like the action painters Morris Louis, who poured his veil paintings, or Jackson Pollock who dripped and drizzled his. My abstract cyanotypes are luminous like watercolor paintings but are actually photographs. Each is a multiple-exposure lensless photograph make through deliberate movements of the light-sensitive paper during exposure to light. 

Different sections of the paper were exposed to light for a longer or shorter time, yielding multiple shades of blue. Each abstract cyanotype is entirely unique. These same lines, shapes and shades of blue cannot be recreated as the exposure of the paper was heavily manipulated by me during each printing.

 A traditional single-exposure cyanotype yields a white silhouette against a dark blue background.

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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