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From a distance this appears to be a dark bluish green, but up close one can see that it is olive green with many thin tall blue blades of grass intersecting it. The ghostly yellow branches that intersect it on closer inspection are actually yellow and white with threads of blue. Rather than an etching or block print, this is a multiple layered cyanotype, an alternative photographic process. The dominant image of the branch was a blue print created on top of a bleached yellow previous print of wild grass. The under layer of white grass against yellow turned into blue blades of grass on olive green under the blue top layer. As a printmaker, I enjoy experimenting with the cyanotype photo process to achieve the effects one would in monoprinting or multiple-plate block prints or etchings. It is a strangely versatile medium which luckily requires no printing press, no copper plate, no wood blocks or aggravation of my tendinitis while carving for hours. I need only plants from my yard, paper, iron salts and my imagination to continue making art while in isolation.
From a distance this appears to be a dark bluish green, but up close one can see that it is olive green with many thin tall blue blades of grass intersecting it. The ghostly yellow branches that intersect it on closer inspection are actually yellow and white with threads of blue. Rather than an etching or block print, this is a multiple layered cyanotype, an alternative photographic process. The dominant image of the branch was a blue print created on top of a bleached yellow previous print of wild grass. The under layer of white grass against yellow turned into blue blades of grass on olive green under the blue top layer. As a printmaker, I enjoy experimenting with the cyanotype photo process to achieve the effects one would in monoprinting or multiple-plate block prints or etchings. It is a strangely versatile medium which luckily requires no printing press, no copper plate, no wood blocks or aggravation of my tendinitis while carving for hours. I need only plants from my yard, paper, iron salts and my imagination to continue making art while in isolation.
From a distance this appears to be a dark bluish green, but up close one can see that it is olive green with many thin tall blue blades of grass intersecting it. The ghostly yellow branches that intersect it on closer inspection are actually yellow and white with threads of blue. Rather than an etching or block print, this is a multiple layered cyanotype, an alternative photographic process. The dominant image of the branch was a blue print created on top of a bleached yellow previous print of wild grass. The under layer of white grass against yellow turned into blue blades of grass on olive green under the blue top layer. As a printmaker, I enjoy experimenting with the cyanotype photo process to achieve the effects one would in monoprinting or multiple-plate block prints or etchings. It is a strangely versatile medium which luckily requires no printing press, no copper plate, no wood blocks or aggravation of my tendinitis while carving for hours. I need only plants from my yard, paper, iron salts and my imagination to continue making art while in isolation.
From a distance this appears to be a dark bluish green, but up close one can see that it is olive green with many thin tall blue blades of grass intersecting it. The ghostly yellow branches that intersect it on closer inspection are actually yellow and white with threads of blue. Rather than an etching or block print, this is a multiple layered cyanotype, an alternative photographic process. The dominant image of the branch was a blue print created on top of a bleached yellow previous print of wild grass. The under layer of white grass against yellow turned into blue blades of grass on olive green under the blue top layer. As a printmaker, I enjoy experimenting with the cyanotype photo process to achieve the effects one would in monoprinting or multiple-plate block prints or etchings. It is a strangely versatile medium which luckily requires no printing press, no copper plate, no wood blocks or aggravation of my tendinitis while carving for hours. I need only plants from my yard, paper, iron salts and my imagination to continue making art while in isolation.
From a distance this appears to be a dark bluish green, but up close one can see that it is olive green with many thin tall blue blades of grass intersecting it. The ghostly yellow branches that intersect it on closer inspection are actually yellow and white with threads of blue. Rather than an etching or block print, this is a multiple layered cyanotype, an alternative photographic process. The dominant image of the branch was a blue print created on top of a bleached yellow previous print of wild grass. The under layer of white grass against yellow turned into blue blades of grass on olive green under the blue top layer. As a printmaker, I enjoy experimenting with the cyanotype photo process to achieve the effects one would in monoprinting or multiple-plate block prints or etchings. It is a strangely versatile medium which luckily requires no printing press, no copper plate, no wood blocks or aggravation of my tendinitis while carving for hours. I need only plants from my yard, paper, iron salts and my imagination to continue making art while in isolation.
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VIEW IN MY ROOM

A Walk in the Green Woods 4 - Limited Edition of 1 Print

Christine So

United States

Printmaking, monoprint on Paper

Size: 18 W x 24 H x 0.1 D in

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Originally listed for $220
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About The Artwork

From a distance this appears to be a dark bluish green, but up close one can see that it is olive green with many thin tall blue blades of grass intersecting it. The ghostly yellow branches that intersect it on closer inspection are actually yellow and white with threads of blue. Rather than an etching or block print, this is a multiple layered cyanotype, an alternative photographic process. The dominant image of the branch was a blue print created on top of a bleached yellow previous print of wild grass. The under layer of white grass against yellow turned into blue blades of grass on olive green under the blue top layer. As a printmaker, I enjoy experimenting with the cyanotype photo process to achieve the effects one would in monoprinting or multiple-plate block prints or etchings. It is a strangely versatile medium which luckily requires no printing press, no copper plate, no wood blocks or aggravation of my tendinitis while carving for hours. I need only plants from my yard, paper, iron salts and my imagination to continue making art while in isolation.

Details & Dimensions

Printmaking:monoprint 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.

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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Handpicked to show at The Other Art Fair presented by Saatchi Art in Los Angeles

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