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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.

73 Views

6

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

Ships in a Box

SOLD
Originally listed for $300

73 Views

6

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

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 AND DIMENSIONS
Printmaking:

monoprint on Paper

Original:

One-of-a-kind Artwork

Size:

18 W x 24 H x 0.1 D in

SHIPPING AND RETURNS
Delivery Time:

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

Clients include: Timothée Chalamet, Starbucks, Ritz Carlton, Mayo Clinic, Jumaira Resort (Dubai), Wyndham Worldmark Hotels, Kimpton Hotel Monaco, Evercore NY, Apollo Global Management, NY, Mazars Accounting NY, Limelight Mammoth Hotel & Residences, MD Anderson Hospital, Houston Methodist Hospital, Oakland International Airport. Christine So is a painter, photographer and printmaker living across the San Francisco Bay in the hills of Oakland, California. Her works are heavily inspired by the woods where she has lived and hiked for decades. She works in acrylic and in the antique photographic process of cyanotypes. She creates botanical and abstract prints without a camera lens, as well as hand-printed landscape photographs of the foggy woods where she lives. Whether it’s painting, printmaking, or photography, her work is always nature-inspired and nearly always monochromatic. She has worked in a dozen mediums, cycling back and forth from painting to printmaking to cyanotype, applying effects from one medium to the next. She bridges the mediums of photography, monoprinting and painting. Her favorite question when working in the antique photographic process of cyanotypes is “What would happen if…?” She has devised a range of atypical techniques using the cyanotype process. Arguably the most striking of her unique methods are her cyanotype paintings in her Delft Garden series. The painted silhouettes of plants each contain an intricate blue and white pattern within them when viewed up close.The lengthy process begins as a pencil drawing which is then painted in–not with ink or paint–but with the cyanotype light-sensitive mixture in a dark room. It’s a tricky process as it’s hard to see what one is painting in very dim light. Days later once the photography chemicals have dried in the painting, she lays plants on top of the painted silhouette in a pattern that will leave gaps similar to lace. She then carefully moves the entire bundle outside and exposes the pattern to sunlight to create the image-within-the-image. The blue and white pattern seen in each leaf resembles painted Delft pottery, thus the title of this series: Delft Garden. Another of the artist’s innovative techniques is her series of completely abstract cyanotypes printed without photo negatives or stencils.

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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