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Bending Wild Grass Diptych - Limited Edition of 1


Bending Wild Grass Diptych - Limited Edition of 1 Photograph

Christine So

United States

Photography, Cyanotype on Paper

Size: 24 W x 16 H x 0.1 D in

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About The Artwork

NOTE: these are the SAME two prints also listed individually as “Bending Wild Grass 1” and “Bending Wild Grass 2.” (12 x 16 inches each) It is impossible to buy this pair here and the other two. If you wish to buy both, buy them as the diptych, which will save the artist hours of packing in two separate boxes, decrease the carbon footprint of the purchase, and save the buyer money and time unwrapping. This pair of monoprints may resemble block prints but they are actually cyanotypes, a form of 19th century cameraless photography also known as blueprints or sun prints. The species of local wild grass I used is called California Bullrush. It is native to Northern California and grows in local wetlands and gardens like mine. Every one of my botanical cyanotypes is an entirely unique monotype as the cut plants are laid by hand in that one exact composition only once. Even if I reuse the same plants once or twice before they wilt, no two of my botanical cyanotypes are ever identical. There is no carved block nor etched copper plate; there is no ink or printing press to be able to reproduce the same image twice.

Details & Dimensions

Multi-paneled Photography:Cyanotype on Paper

Original:One-of-a-kind Artwork

Size:24 W x 16 H x 0.1 D in

Shipping & Returns

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

I live in the woods in northern California. Whenever I leave my house I find myself under an endless web of tree branches. Their silhouettes have etched themselves into my memory over the decades. My paintings and prints 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." Throwing several colors together strikes me as visually noisy. Having only varying shades of a single color in a picture exudes a calm, balance and focus that I find deeply attractive. Having spent a decade as a printmaker carving wood cuts and linocuts, printing etchings, aquatints and monotypes, monochrome is how my mind works. I focus on one color at a time, the composition, balance of positive and negative space, patterns, lines and cutout shapes. My paintings are an escape, a window to a simpler world. A perfect walk at twilight, the soft light at sunrise. I like simplicity. I do not like chaos. In my paintings of trees, I want the viewer to experience the beauty of walking under a canopy of trees. In my abstract paintings, I draw on the memories of webs and repeating patterns made by branches and leaves, sometimes quite symmetrically and sometimes in a more free flowing pattern. Wherever you look, there seems to be the shape of leaves. Every mark in my paintings is deliberate, not random, and my colors are often applied thinly and sheer. This is in keeping with my background as a printmaker. Printmakers must plan meticulously before they begin the irreversible process of block carving or acid etching. I do not “muddy” my paint while on the canvas nor lay on paint in a thick impasto. I create thin layers of color, one over the other, the way you roll ink on a block and only the sheerest layer of color is transferred to the paper once it has passed through the press. My color schemes are simple, my lines neat, and my compositions balanced like a Japanese woodcut or a sumi ink painting. 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 onto light-sensitive paper.

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