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Yellow is the color of hope. As Victor Hugo put it, “Even the darkest night will end and the sun will rise.” 

I began this yellow ‘Daylight’ series in the third month of sheltering in place in California during the coronavirus pandemic. So many lives have been cut short, plans ruined, families devastated, and incomes lost, and then I read encouraging news on progress being made faster than ever in the development of a vaccine. This generation of young people will know better than many previous generations the importance of participating in their own democracy and that they can shape the world they want to live in By having an imagination. By simply being able to consider that which doesn’t yet exist.

Although my background is in printmaking, these are not etchings or block prints made using ink and a printing press. Cyanotypes are a form of 19th century cameraless photography also known as blueprints. The chemicals in the photo emulsion typically produce a blue and white image. However, this print was “toned” or bleached in detergent to turn it a warm shade of yellow. The world needs light right now.

‘Daylight’ is mounted on wooden panels with their 1.5 inch deep sides painted white as well as the front edge, which serves as a frame. Each panel individually measures 12 x 24 inches (30 x 60 cm). These two mounted prints on panels can be hung close together or spaced apart in a hallway or staircase.  

The surface of the paper was rubbed with an imperceptible transparent layer of cold wax medium to protect it from moisture and dust.
Left panel
Yellow is the color of hope. As Victor Hugo put it, “Even the darkest night will end and the sun will rise.” 

I began this yellow ‘Daylight’ series in the third month of sheltering in place in California during the coronavirus pandemic. So many lives have been cut short, plans ruined, families devastated, and incomes lost, and then I read encouraging news on progress being made faster than ever in the development of a vaccine. This generation of young people will know better than many previous generations the importance of participating in their own democracy and that they can shape the world they want to live in By having an imagination. By simply being able to consider that which doesn’t yet exist.

Although my background is in printmaking, these are not etchings or block prints made using ink and a printing press. Cyanotypes are a form of 19th century cameraless photography also known as blueprints. The chemicals in the photo emulsion typically produce a blue and white image. However, this print was “toned” or bleached in detergent to turn it a warm shade of yellow. The world needs light right now.

‘Daylight’ is mounted on wooden panels with their 1.5 inch deep sides painted white as well as the front edge, which serves as a frame. Each panel individually measures 12 x 24 inches (30 x 60 cm). These two mounted prints on panels can be hung close together or spaced apart in a hallway or staircase.  

The surface of the paper was rubbed with an imperceptible transparent layer of cold wax medium to protect it from moisture and dust.
Yellow is the color of hope. As Victor Hugo put it, “Even the darkest night will end and the sun will rise.” 

I began this yellow ‘Daylight’ series in the third month of sheltering in place in California during the coronavirus pandemic. So many lives have been cut short, plans ruined, families devastated, and incomes lost, and then I read encouraging news on progress being made faster than ever in the development of a vaccine. This generation of young people will know better than many previous generations the importance of participating in their own democracy and that they can shape the world they want to live in By having an imagination. By simply being able to consider that which doesn’t yet exist.

Although my background is in printmaking, these are not etchings or block prints made using ink and a printing press. Cyanotypes are a form of 19th century cameraless photography also known as blueprints. The chemicals in the photo emulsion typically produce a blue and white image. However, this print was “toned” or bleached in detergent to turn it a warm shade of yellow. The world needs light right now.

‘Daylight’ is mounted on wooden panels with their 1.5 inch deep sides painted white as well as the front edge, which serves as a frame. Each panel individually measures 12 x 24 inches (30 x 60 cm). These two mounted prints on panels can be hung close together or spaced apart in a hallway or staircase.  

The surface of the paper was rubbed with an imperceptible transparent layer of cold wax medium to protect it from moisture and dust.
Right panel
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VIEW IN MY ROOM

Daylight Diptych - Limited Edition of 1 Print

Christine So

United States

Printmaking, Monotype on Paper

Size: 24 W x 24 H x 1.5 D in

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$600USD

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279 Views
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About The Artwork

These yellow prints are actually toned blue prints. Cyanotypes are a form of 19th century cameraless photography also known as sun prints and blueprints. The chemicals in the photo emulsion typically produce a blue and white image. However, this print was “toned” or bleached in detergent to turn it a warm shade of yellow. The thick watercolor paper is mounted on wooden panels with their 1.5 inch deep sides painted white as well as the front edge, which serves as a frame. Each panel individually measures 12 x 24 inches (30 x 60 cm). These two mounted prints on panels can be hung close together or spaced apart in a hallway or staircase. The paper is sealed with a very thin coat of rubbed-on cold wax medium. This matte barely perceptible layer protects the paper against dirt, dust and moisture, but does not have the noticeable thick, shiny, glassy look of an encaustic finish.

Details & Dimensions

Multi-paneled Printmaking:Monotype on Paper

Original:One-of-a-kind Artwork

Size:24 W x 24 H x 1.5 D in

Number of Panels:2

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.

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

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