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This is a triple exposure cyanotype, a cameraless photo made using living plants and 19th century photographic chemicals. Here I used my technique of moving the plants, layering different sized plants and re-exposing the print to light. My layering and multi-tone technique is inspired by different kinds of printmaking that I have practiced in the past, especially multi-plate prints and aquatints.

Timing of each successive overlapped exposure is carefully planned, always keeping in mind the balance of positive and negative space and gradated shades of blue to be achieved. The effects are entirely dependent on the strength of sunlight, timing and composition. There is no copper plate, there is no ink, there is no printing press.There’s just the sun causing the paper to darken every second that it remains exposed to light.

Every cameraless cyanotype is a unique monoprint. There is no way to reproduce exactly the same effects even if I keep the same plant cuttings to use in a series before they wilt.
This is a triple exposure cyanotype, a cameraless photo made using living plants and 19th century photographic chemicals. Here I used my technique of moving the plants, layering different sized plants and re-exposing the print to light. My layering and multi-tone technique is inspired by different kinds of printmaking that I have practiced in the past, especially multi-plate prints and aquatints.

Timing of each successive overlapped exposure is carefully planned, always keeping in mind the balance of positive and negative space and gradated shades of blue to be achieved. The effects are entirely dependent on the strength of sunlight, timing and composition. There is no copper plate, there is no ink, there is no printing press.There’s just the sun causing the paper to darken every second that it remains exposed to light.

Every cameraless cyanotype is a unique monoprint. There is no way to reproduce exactly the same effects even if I keep the same plant cuttings to use in a series before they wilt.
This is a triple exposure cyanotype, a cameraless photo made using living plants and 19th century photographic chemicals. Here I used my technique of moving the plants, layering different sized plants and re-exposing the print to light. My layering and multi-tone technique is inspired by different kinds of printmaking that I have practiced in the past, especially multi-plate prints and aquatints.

Timing of each successive overlapped exposure is carefully planned, always keeping in mind the balance of positive and negative space and gradated shades of blue to be achieved. The effects are entirely dependent on the strength of sunlight, timing and composition. There is no copper plate, there is no ink, there is no printing press.There’s just the sun causing the paper to darken every second that it remains exposed to light.

Every cameraless cyanotype is a unique monoprint. There is no way to reproduce exactly the same effects even if I keep the same plant cuttings to use in a series before they wilt.
This is a triple exposure cyanotype, a cameraless photo made using living plants and 19th century photographic chemicals. Here I used my technique of moving the plants, layering different sized plants and re-exposing the print to light. My layering and multi-tone technique is inspired by different kinds of printmaking that I have practiced in the past, especially multi-plate prints and aquatints.

Timing of each successive overlapped exposure is carefully planned, always keeping in mind the balance of positive and negative space and gradated shades of blue to be achieved. The effects are entirely dependent on the strength of sunlight, timing and composition. There is no copper plate, there is no ink, there is no printing press.There’s just the sun causing the paper to darken every second that it remains exposed to light.

Every cameraless cyanotype is a unique monoprint. There is no way to reproduce exactly the same effects even if I keep the same plant cuttings to use in a series before they wilt.
This is a triple exposure cyanotype, a cameraless photo made using living plants and 19th century photographic chemicals. Here I used my technique of moving the plants, layering different sized plants and re-exposing the print to light. My layering and multi-tone technique is inspired by different kinds of printmaking that I have practiced in the past, especially multi-plate prints and aquatints.

Timing of each successive overlapped exposure is carefully planned, always keeping in mind the balance of positive and negative space and gradated shades of blue to be achieved. The effects are entirely dependent on the strength of sunlight, timing and composition. There is no copper plate, there is no ink, there is no printing press.There’s just the sun causing the paper to darken every second that it remains exposed to light.

Every cameraless cyanotype is a unique monoprint. There is no way to reproduce exactly the same effects even if I keep the same plant cuttings to use in a series before they wilt.
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VIEW IN MY ROOM

Garden Wall 2 - Limited Edition of 1 Photograph

Christine So

United States

Photography, cyanotype on Paper

Size: 18 W x 24 H x 0.1 D in

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Originally listed for $200
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About The Artwork

This is a triple exposure cyanotype, a cameraless photo made using living plants and 19th century photographic chemicals. Here I used my technique of moving the plants, layering different sized plants and re-exposing the print to light. My layering and multi-tone technique is inspired by different kinds of printmaking that I have practiced in the past, especially multi-plate prints and aquatints. Timing of each successive overlapped exposure is carefully planned, always keeping in mind the balance of positive and negative space and gradated shades of blue to be achieved. The effects are entirely dependent on the strength of sunlight, timing and composition. There is no copper plate, there is no ink, there is no printing press.There’s just the sun causing the paper to darken every second that it remains exposed to light. Every cameraless cyanotype is a unique monoprint. There is no way to reproduce exactly the same effects even if I keep the same plant cuttings to use in a series before they wilt.

Details & Dimensions

Photography:cyanotype on Paper

Original:One-of-a-kind Artwork

Size:18 W x 24 H x 0.1 D in

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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 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. But instead of creating a white image by blocking light with solid objects on the light-sensitive paper, I used water to block the light, creating subtle gradations of darkening blue as I submerged the light-sensitive paper for different carefully timed exposures under water, turning, bending and lifting the paper as needed to shape the lines before they become permanently etched by the sun’s light. My botanical cyanotypes are each unique monotypes as well. They are slow camera-less photographs made outdoors using natural light and no film negative.

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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