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These 18 x 24” size prints are among the first works on paper that I have not turned into collages in many months. All my other  handmade prints on paper of the same size have sold out. Once matted and framed under glass, this size will occupy closer to 24 x 36 inches of wall space.

My botanical cyanotypes are each one-of-a-kind slow cameraless photographs made outdoors using natural light. There is no lens and there is no etched plate or printing press. As much time is spent in their composition and timing the separate exposures as goes into the final exposure and rinsing.

This is a triple-exposure cyanotype , meaning that the plants were laid in three different locations on the photo-sensitive paper for carefully measured amounts of time, creating the ghostly overlapping images you see, with the last image being the dominant one. 

Every botanical cyanotype I make  is a unique monotype. 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. There is no carved block nor etched copper plate—only the sun causing the photo chemicals to darken every second  that it remains exposed to light.
These 18 x 24” size prints are among the first works on paper that I have not turned into collages in many months. All my other  handmade prints on paper of the same size have sold out. Once matted and framed under glass, this size will occupy closer to 24 x 36 inches of wall space.

My botanical cyanotypes are each one-of-a-kind slow cameraless photographs made outdoors using natural light. There is no lens and there is no etched plate or printing press. As much time is spent in their composition and timing the separate exposures as goes into the final exposure and rinsing.

This is a triple-exposure cyanotype , meaning that the plants were laid in three different locations on the photo-sensitive paper for carefully measured amounts of time, creating the ghostly overlapping images you see, with the last image being the dominant one. 

Every botanical cyanotype I make  is a unique monotype. 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. There is no carved block nor etched copper plate—only the sun causing the photo chemicals to darken every second  that it remains exposed to light.
These 18 x 24” size prints are among the first works on paper that I have not turned into collages in many months. All my other  handmade prints on paper of the same size have sold out. Once matted and framed under glass, this size will occupy closer to 24 x 36 inches of wall space.

My botanical cyanotypes are each one-of-a-kind slow cameraless photographs made outdoors using natural light. There is no lens and there is no etched plate or printing press. As much time is spent in their composition and timing the separate exposures as goes into the final exposure and rinsing.

This is a triple-exposure cyanotype , meaning that the plants were laid in three different locations on the photo-sensitive paper for carefully measured amounts of time, creating the ghostly overlapping images you see, with the last image being the dominant one. 

Every botanical cyanotype I make  is a unique monotype. 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. There is no carved block nor etched copper plate—only the sun causing the photo chemicals to darken every second  that it remains exposed to light.
These 18 x 24” size prints are among the first works on paper that I have not turned into collages in many months. All my other  handmade prints on paper of the same size have sold out. Once matted and framed under glass, this size will occupy closer to 24 x 36 inches of wall space.

My botanical cyanotypes are each one-of-a-kind slow cameraless photographs made outdoors using natural light. There is no lens and there is no etched plate or printing press. As much time is spent in their composition and timing the separate exposures as goes into the final exposure and rinsing.

This is a triple-exposure cyanotype , meaning that the plants were laid in three different locations on the photo-sensitive paper for carefully measured amounts of time, creating the ghostly overlapping images you see, with the last image being the dominant one. 

Every botanical cyanotype I make  is a unique monotype. 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. There is no carved block nor etched copper plate—only the sun causing the photo chemicals to darken every second  that it remains exposed to light.
These 18 x 24” size prints are among the first works on paper that I have not turned into collages in many months. All my other  handmade prints on paper of the same size have sold out. Once matted and framed under glass, this size will occupy closer to 24 x 36 inches of wall space.

My botanical cyanotypes are each one-of-a-kind slow cameraless photographs made outdoors using natural light. There is no lens and there is no etched plate or printing press. As much time is spent in their composition and timing the separate exposures as goes into the final exposure and rinsing.

This is a triple-exposure cyanotype , meaning that the plants were laid in three different locations on the photo-sensitive paper for carefully measured amounts of time, creating the ghostly overlapping images you see, with the last image being the dominant one. 

Every botanical cyanotype I make  is a unique monotype. 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. There is no carved block nor etched copper plate—only the sun causing the photo chemicals to darken every second  that it remains exposed to light.
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VIEW IN MY ROOM

Light Through Leaves 3 - Limited Edition of 1 Photograph

Christine So

United States

Photography, Photogram on Paper

Size: 18 W x 24 H x 0.1 D in

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SOLD
Originally listed for $250
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73 Views
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Artist Recognition

link - Showed at the The Other Art Fair

Showed at the The Other Art Fair

link - Artist featured in a collection

Artist featured in a collection

About The Artwork

These 18 x 24” size prints are among the first works on paper that I have not turned into collages in many months. All my other handmade prints on paper of the same size have sold out. Once matted and framed under glass, this size will occupy closer to 24 x 36 inches of wall space. My botanical cyanotypes are each one-of-a-kind slow cameraless photographs made outdoors using natural light. There is no lens and there is no etched plate or printing press. As much time is spent in their composition and timing the separate exposures as goes into the final exposure and rinsing. This is a triple-exposure cyanotype , meaning that the plants were laid in three different locations on the photo-sensitive paper for carefully measured amounts of time, creating the ghostly overlapping images you see, with the last image being the dominant one. Every botanical cyanotype I make is a unique monotype. 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. There is no carved block nor etched copper plate—only the sun causing the photo chemicals to darken every second that it remains exposed to light.

Details & Dimensions

Photography:Photogram on Paper

Original:One-of-a-kind Artwork

Size:18 W x 24 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 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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