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The title, “Sun in the Sky..” (you know how I feel) is the next line in the song by the Nina Simone after “Birds flying high, you know how I feel...” This technique follows in the footsteps of the postwar “action painters” (think Jackson Pollock) and abstract expressionists who painted on raw unprimed canvas like Helen Frankenthaller. I am further exploring a technique practiced by the Hungarian painter Simon Hantaï, the abstract painter who the 1960s devised a fold-paint-unfold technique which bears more resemblance to the indigo tie-dye fabric arts of Shibori and Bogolan. Each folded-painted pattern of negative shapes is unique, as unpredictable as opening up a hand-cut paper snowflake. The canvas was folded and clipped 200 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. The white is a truer white than my other two paintings made using this same method. This time I first applied a thin coat of white before the folding and clipping and applying the second color yellow to only the exposed parts. In my other two blue paintings, the negative spaces are a raw linen color. In this yellow painting, there is only a slight grainy quality visible up close showing through the painted white sections where you see flecks of the darker brown threads that are part of the weave of the beige canvas. The painted pattern continues around the four edges. Hand-stretched on 1.5” deep stretcher bars.
The title, “Sun in the Sky..” (you know how I feel) is the next line in the song by the Nina Simone after “Birds flying high, you know how I feel...” This technique follows in the footsteps of the postwar “action painters” (think Jackson Pollock) and abstract expressionists who painted on raw unprimed canvas like Helen Frankenthaller. I am further exploring a technique practiced by the Hungarian painter Simon Hantaï, the abstract painter who the 1960s devised a fold-paint-unfold technique which bears more resemblance to the indigo tie-dye fabric arts of Shibori and Bogolan. Each folded-painted pattern of negative shapes is unique, as unpredictable as opening up a hand-cut paper snowflake. The canvas was folded and clipped 200 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. The white is a truer white than my other two paintings made using this same method. This time I first applied a thin coat of white before the folding and clipping and applying the second color yellow to only the exposed parts. In my other two blue paintings, the negative spaces are a raw linen color. In this yellow painting, there is only a slight grainy quality visible up close showing through the painted white sections where you see flecks of the darker brown threads that are part of the weave of the beige canvas. The painted pattern continues around the four edges. Hand-stretched on 1.5” deep stretcher bars.
The title, “Sun in the Sky..” (you know how I feel) is the next line in the song by the Nina Simone after “Birds flying high, you know how I feel...” This technique follows in the footsteps of the postwar “action painters” (think Jackson Pollock) and abstract expressionists who painted on raw unprimed canvas like Helen Frankenthaller. I am further exploring a technique practiced by the Hungarian painter Simon Hantaï, the abstract painter who the 1960s devised a fold-paint-unfold technique which bears more resemblance to the indigo tie-dye fabric arts of Shibori and Bogolan. Each folded-painted pattern of negative shapes is unique, as unpredictable as opening up a hand-cut paper snowflake. The canvas was folded and clipped 200 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. The white is a truer white than my other two paintings made using this same method. This time I first applied a thin coat of white before the folding and clipping and applying the second color yellow to only the exposed parts. In my other two blue paintings, the negative spaces are a raw linen color. In this yellow painting, there is only a slight grainy quality visible up close showing through the painted white sections where you see flecks of the darker brown threads that are part of the weave of the beige canvas. The painted pattern continues around the four edges. Hand-stretched on 1.5” deep stretcher bars.
The title, “Sun in the Sky..” (you know how I feel) is the next line in the song by the Nina Simone after “Birds flying high, you know how I feel...” This technique follows in the footsteps of the postwar “action painters” (think Jackson Pollock) and abstract expressionists who painted on raw unprimed canvas like Helen Frankenthaller. I am further exploring a technique practiced by the Hungarian painter Simon Hantaï, the abstract painter who the 1960s devised a fold-paint-unfold technique which bears more resemblance to the indigo tie-dye fabric arts of Shibori and Bogolan. Each folded-painted pattern of negative shapes is unique, as unpredictable as opening up a hand-cut paper snowflake. The canvas was folded and clipped 200 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. The white is a truer white than my other two paintings made using this same method. This time I first applied a thin coat of white before the folding and clipping and applying the second color yellow to only the exposed parts. In my other two blue paintings, the negative spaces are a raw linen color. In this yellow painting, there is only a slight grainy quality visible up close showing through the painted white sections where you see flecks of the darker brown threads that are part of the weave of the beige canvas. The painted pattern continues around the four edges. Hand-stretched on 1.5” deep stretcher bars.
The title, “Sun in the Sky..” (you know how I feel) is the next line in the song by the Nina Simone after “Birds flying high, you know how I feel...” This technique follows in the footsteps of the postwar “action painters” (think Jackson Pollock) and abstract expressionists who painted on raw unprimed canvas like Helen Frankenthaller. I am further exploring a technique practiced by the Hungarian painter Simon Hantaï, the abstract painter who the 1960s devised a fold-paint-unfold technique which bears more resemblance to the indigo tie-dye fabric arts of Shibori and Bogolan. Each folded-painted pattern of negative shapes is unique, as unpredictable as opening up a hand-cut paper snowflake. The canvas was folded and clipped 200 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. The white is a truer white than my other two paintings made using this same method. This time I first applied a thin coat of white before the folding and clipping and applying the second color yellow to only the exposed parts. In my other two blue paintings, the negative spaces are a raw linen color. In this yellow painting, there is only a slight grainy quality visible up close showing through the painted white sections where you see flecks of the darker brown threads that are part of the weave of the beige canvas. The painted pattern continues around the four edges. Hand-stretched on 1.5” deep stretcher bars.
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Sun in the Sky Painting

Christine So

United States

Painting, Acrylic on Canvas

Size: 36 W x 36 H x 1.5 D in

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About The Artwork

The title, “Sun in the Sky..” (you know how I feel) is the next line in the song by the Nina Simone after “Birds flying high, you know how I feel...” This technique follows in the footsteps of the postwar “action painters” (think Jackson Pollock) and abstract expressionists who painted on raw unprimed canvas like Helen Frankenthaller. I am further exploring a technique practiced by the Hungarian painter Simon Hantaï, the abstract painter who the 1960s devised a fold-paint-unfold technique which bears more resemblance to the indigo tie-dye fabric arts of Shibori and Bogolan. Each folded-painted pattern of negative shapes is unique, as unpredictable as opening up a hand-cut paper snowflake. The canvas was folded and clipped 200 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. The white is a truer white than my other two paintings made using this same method. This time I first applied a thin coat of white before the folding and clipping and applying the second color yellow to only the exposed parts. In my other two blue paintings, the negative spaces are a raw linen color. In this yellow painting, there is only a slight grainy quality visible up close showing through the painted white sections where you see flecks of the darker brown threads that are part of the weave of the beige canvas. The painted pattern continues around the four edges. Hand-stretched on 1.5” deep stretcher bars. There is a wire on the back making it ready to hang immediately.

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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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.

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