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This cameraless photographic print was published in July’s issue 29 of The Hand magazine, an art magazine dedicated to printmaking and analog photography. The pale turquoise is a very unusual color to create with cyanotype chemicals which are normally a deep navy blue or Prussian blue. My multilayered process is highly unusual and creates one-off monoprints impossible to reproduce even if I were to save same plants that I used. Rather than an etching or block print, this is a multiple layered cyanotype, a 19th century alternative photographic process. The dominant image of the branch was a blue cyanotype print created on top of a bleached yellow previous cyanotype of wild grass. The bottom layer of white grass against yellow turned into blue blades of grass intersecting a pale turquoise top layer. Up close one can see that the turquoise is crisscrossed by thin cobalt blue blades of grass from the print underlayer. In this pale turquoise version of my ‘Walk in the Green Woods’ series, I used the same kinds of plants in the top and bottom layers as version 4, but cloudy skies made the final blue layer not as dark.
This cameraless photographic print was published in July’s issue 29 of The Hand magazine, an art magazine dedicated to printmaking and analog photography. The pale turquoise is a very unusual color to create with cyanotype chemicals which are normally a deep navy blue or Prussian blue. My multilayered process is highly unusual and creates one-off monoprints impossible to reproduce even if I were to save same plants that I used. Rather than an etching or block print, this is a multiple layered cyanotype, a 19th century alternative photographic process. The dominant image of the branch was a blue cyanotype print created on top of a bleached yellow previous cyanotype of wild grass. The bottom layer of white grass against yellow turned into blue blades of grass intersecting a pale turquoise top layer. Up close one can see that the turquoise is crisscrossed by thin cobalt blue blades of grass from the print underlayer. In this pale turquoise version of my ‘Walk in the Green Woods’ series, I used the same kinds of plants in the top and bottom layers as version 4, but cloudy skies made the final blue layer not as dark.
This cameraless photographic print was published in July’s issue 29 of The Hand magazine, an art magazine dedicated to printmaking and analog photography. The pale turquoise is a very unusual color to create with cyanotype chemicals which are normally a deep navy blue or Prussian blue. My multilayered process is highly unusual and creates one-off monoprints impossible to reproduce even if I were to save same plants that I used. Rather than an etching or block print, this is a multiple layered cyanotype, a 19th century alternative photographic process. The dominant image of the branch was a blue cyanotype print created on top of a bleached yellow previous cyanotype of wild grass. The bottom layer of white grass against yellow turned into blue blades of grass intersecting a pale turquoise top layer. Up close one can see that the turquoise is crisscrossed by thin cobalt blue blades of grass from the print underlayer. In this pale turquoise version of my ‘Walk in the Green Woods’ series, I used the same kinds of plants in the top and bottom layers as version 4, but cloudy skies made the final blue layer not as dark.
This cameraless photographic print was published in July’s issue 29 of The Hand magazine, an art magazine dedicated to printmaking and analog photography. The pale turquoise is a very unusual color to create with cyanotype chemicals which are normally a deep navy blue or Prussian blue. My multilayered process is highly unusual and creates one-off monoprints impossible to reproduce even if I were to save same plants that I used. Rather than an etching or block print, this is a multiple layered cyanotype, a 19th century alternative photographic process. The dominant image of the branch was a blue cyanotype print created on top of a bleached yellow previous cyanotype of wild grass. The bottom layer of white grass against yellow turned into blue blades of grass intersecting a pale turquoise top layer. Up close one can see that the turquoise is crisscrossed by thin cobalt blue blades of grass from the print underlayer. In this pale turquoise version of my ‘Walk in the Green Woods’ series, I used the same kinds of plants in the top and bottom layers as version 4, but cloudy skies made the final blue layer not as dark.
This cameraless photographic print was published in July’s issue 29 of The Hand magazine, an art magazine dedicated to printmaking and analog photography. The pale turquoise is a very unusual color to create with cyanotype chemicals which are normally a deep navy blue or Prussian blue. My multilayered process is highly unusual and creates one-off monoprints impossible to reproduce even if I were to save same plants that I used. Rather than an etching or block print, this is a multiple layered cyanotype, a 19th century alternative photographic process. The dominant image of the branch was a blue cyanotype print created on top of a bleached yellow previous cyanotype of wild grass. The bottom layer of white grass against yellow turned into blue blades of grass intersecting a pale turquoise top layer. Up close one can see that the turquoise is crisscrossed by thin cobalt blue blades of grass from the print underlayer. In this pale turquoise version of my ‘Walk in the Green Woods’ series, I used the same kinds of plants in the top and bottom layers as version 4, but cloudy skies made the final blue layer not as dark.
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VIEW IN MY ROOM

A Walk in the Green Woods 5 - Limited Edition of 1 Print

Christine So

United States

Printmaking, monoprint on Paper

Size: 16 W x 20 H x 0.1 D in

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Originally listed for $200
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About The Artwork

This cameraless photographic print was published in July’s issue 29 of The Hand magazine, an art magazine dedicated to printmaking and analog photography. The pale turquoise is a very unusual color to create with cyanotype chemicals which are normally a deep navy blue or Prussian blue. My multilayered process is highly unusual and creates one-off monoprints impossible to reproduce even if I were to save same plants that I used. Rather than an etching or block print, this is a multiple layered cyanotype, a 19th century alternative photographic process. The dominant image of the branch was a blue cyanotype print created on top of a bleached yellow previous cyanotype of wild grass. The bottom layer of white grass against yellow turned into blue blades of grass intersecting a pale turquoise top layer. Up close one can see that the turquoise is crisscrossed by thin cobalt blue blades of grass from the print underlayer. In this pale turquoise version of my ‘Walk in the Green Woods’ series, I used the same kinds of plants in the top and bottom layers as version 4, but cloudy skies made the final blue layer not as dark.

Details & Dimensions

Printmaking:monoprint on Paper

Original:One-of-a-kind Artwork

Size:16 W x 20 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.

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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