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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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View In My Room

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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$1,475

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447 Views

62

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link - Showed at the The Other Art Fair

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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 unpr...

Year Created:

2021

Subject:
Medium:

Painting, Acrylic on Canvas

Rarity:

One-of-a-kind Artwork

Size:

36 W x 36 H x 1.5 D in

Ready to Hang:

Yes

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships in a Box

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Shipping is included in price.

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

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Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

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United States.

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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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