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This collage is part of the same series as my 'Night and Day 2' which Saatchi Art featured the week of April 27, 2020 in its 'New This Week' collection. It is the eighth in my 'Night and Day' series of collages mounted on wood panels. The metaphor of suffering and relief, struggle and triumph continues in it. Made in the midst of a worldwide pandemic, the ray of light that pieces the middle of the piece takes on a very immediate significance.

Each is made using entirely unique hand-printed cyanotypes. These are not etchings made from a reproducible image inscribed on a metal plate or carved in a block. My botanical cyanotypes made with living plants are all monoprints.

The colors of night and day, the good and the bad are united in one image, a reminder that day always follows even the darkest night. The acacia branches are a continuous image crossing from night to bright day and back to blue night again.

Each of the cyanotypes that was cut up to assemble one of my collages was a unique monotype made from plants in my garden. Cyanotypes, also known as blueprints or sun prints, are a 19th century alternative photographic process which does not require a camera lens.

There is a 3/8 inch (1 1/4 cm) border of white painted wood showing around the image when viewed from the front and the four sides of the 1 1/2 inch (3 3/4 cm)deep birch cradled panel are painted white. This eliminates the need for a frame. The papers used in the collage are heavy 100% acid-free watercolor paper which will not yellow with age. The paper's surface is sealed with a transparent, matte layer of cold wax.

This small collage on wood panel is made from my own hand-printed cyanotypes which I cut up and reassembled into an intricate repetitive pattern. The subtle variation of tones and texture in each small paper mosaic piece comes from it having been a blue and white print of wild grass. The overall effect somehow comes out looking like ripples in water, thus the title.

The entire collage is coated with a layer of transparent matte gel medium to protect it from fading and dampness and dust. The 3/4 inch deep sides of the wood panel are painted white the same as the face of the panel. It has no need for framing and is ready to go on a wall right upon arrival.

As 2020 is an extremely important election year, the artist's proceeds from the sale of this piece will go to Fair Fight, an organization focused on free and fair elections in the U.S. It was founded by Georgia democrat Stacey Abrams with a mission to end Republicans' voter suppression tactics such as refusing to have universal voting by mail during a pandemic, erasing democratic voters' names from the voter rolls, discarding the registration applications of new democratic voters, and reducing the number of polling stations in neighborhoods that vote democrat.
This collage is part of the same series as my 'Night and Day 2' which Saatchi Art featured the week of April 27, 2020 in its 'New This Week' collection. It is the eighth in my 'Night and Day' series of collages mounted on wood panels. The metaphor of suffering and relief, struggle and triumph continues in it. Made in the midst of a worldwide pandemic, the ray of light that pieces the middle of the piece takes on a very immediate significance.

Each is made using entirely unique hand-printed cyanotypes. These are not etchings made from a reproducible image inscribed on a metal plate or carved in a block. My botanical cyanotypes made with living plants are all monoprints.

The colors of night and day, the good and the bad are united in one image, a reminder that day always follows even the darkest night. The acacia branches are a continuous image crossing from night to bright day and back to blue night again.

Each of the cyanotypes that was cut up to assemble one of my collages was a unique monotype made from plants in my garden. Cyanotypes, also known as blueprints or sun prints, are a 19th century alternative photographic process which does not require a camera lens.

There is a 3/8 inch (1 1/4 cm) border of white painted wood showing around the image when viewed from the front and the four sides of the 1 1/2 inch (3 3/4 cm)deep birch cradled panel are painted white. This eliminates the need for a frame. The papers used in the collage are heavy 100% acid-free watercolor paper which will not yellow with age. The paper's surface is sealed with a transparent, matte layer of cold wax.

This small collage on wood panel is made from my own hand-printed cyanotypes which I cut up and reassembled into an intricate repetitive pattern. The subtle variation of tones and texture in each small paper mosaic piece comes from it having been a blue and white print of wild grass. The overall effect somehow comes out looking like ripples in water, thus the title.

The entire collage is coated with a layer of transparent matte gel medium to protect it from fading and dampness and dust. The 3/4 inch deep sides of the wood panel are painted white the same as the face of the panel. It has no need for framing and is ready to go on a wall right upon arrival.

As 2020 is an extremely important election year, the artist's proceeds from the sale of this piece will go to Fair Fight, an organization focused on free and fair elections in the U.S. It was founded by Georgia democrat Stacey Abrams with a mission to end Republicans' voter suppression tactics such as refusing to have universal voting by mail during a pandemic, erasing democratic voters' names from the voter rolls, discarding the registration applications of new democratic voters, and reducing the number of polling stations in neighborhoods that vote democrat.
This collage is part of the same series as my 'Night and Day 2' which Saatchi Art featured the week of April 27, 2020 in its 'New This Week' collection. It is the eighth in my 'Night and Day' series of collages mounted on wood panels. The metaphor of suffering and relief, struggle and triumph continues in it. Made in the midst of a worldwide pandemic, the ray of light that pieces the middle of the piece takes on a very immediate significance.

Each is made using entirely unique hand-printed cyanotypes. These are not etchings made from a reproducible image inscribed on a metal plate or carved in a block. My botanical cyanotypes made with living plants are all monoprints.

The colors of night and day, the good and the bad are united in one image, a reminder that day always follows even the darkest night. The acacia branches are a continuous image crossing from night to bright day and back to blue night again.

Each of the cyanotypes that was cut up to assemble one of my collages was a unique monotype made from plants in my garden. Cyanotypes, also known as blueprints or sun prints, are a 19th century alternative photographic process which does not require a camera lens.

There is a 3/8 inch (1 1/4 cm) border of white painted wood showing around the image when viewed from the front and the four sides of the 1 1/2 inch (3 3/4 cm)deep birch cradled panel are painted white. This eliminates the need for a frame. The papers used in the collage are heavy 100% acid-free watercolor paper which will not yellow with age. The paper's surface is sealed with a transparent, matte layer of cold wax.

This small collage on wood panel is made from my own hand-printed cyanotypes which I cut up and reassembled into an intricate repetitive pattern. The subtle variation of tones and texture in each small paper mosaic piece comes from it having been a blue and white print of wild grass. The overall effect somehow comes out looking like ripples in water, thus the title.

The entire collage is coated with a layer of transparent matte gel medium to protect it from fading and dampness and dust. The 3/4 inch deep sides of the wood panel are painted white the same as the face of the panel. It has no need for framing and is ready to go on a wall right upon arrival.

As 2020 is an extremely important election year, the artist's proceeds from the sale of this piece will go to Fair Fight, an organization focused on free and fair elections in the U.S. It was founded by Georgia democrat Stacey Abrams with a mission to end Republicans' voter suppression tactics such as refusing to have universal voting by mail during a pandemic, erasing democratic voters' names from the voter rolls, discarding the registration applications of new democratic voters, and reducing the number of polling stations in neighborhoods that vote democrat.
This collage is part of the same series as my 'Night and Day 2' which Saatchi Art featured the week of April 27, 2020 in its 'New This Week' collection. It is the eighth in my 'Night and Day' series of collages mounted on wood panels. The metaphor of suffering and relief, struggle and triumph continues in it. Made in the midst of a worldwide pandemic, the ray of light that pieces the middle of the piece takes on a very immediate significance.

Each is made using entirely unique hand-printed cyanotypes. These are not etchings made from a reproducible image inscribed on a metal plate or carved in a block. My botanical cyanotypes made with living plants are all monoprints.

The colors of night and day, the good and the bad are united in one image, a reminder that day always follows even the darkest night. The acacia branches are a continuous image crossing from night to bright day and back to blue night again.

Each of the cyanotypes that was cut up to assemble one of my collages was a unique monotype made from plants in my garden. Cyanotypes, also known as blueprints or sun prints, are a 19th century alternative photographic process which does not require a camera lens.

There is a 3/8 inch (1 1/4 cm) border of white painted wood showing around the image when viewed from the front and the four sides of the 1 1/2 inch (3 3/4 cm)deep birch cradled panel are painted white. This eliminates the need for a frame. The papers used in the collage are heavy 100% acid-free watercolor paper which will not yellow with age. The paper's surface is sealed with a transparent, matte layer of cold wax.

This small collage on wood panel is made from my own hand-printed cyanotypes which I cut up and reassembled into an intricate repetitive pattern. The subtle variation of tones and texture in each small paper mosaic piece comes from it having been a blue and white print of wild grass. The overall effect somehow comes out looking like ripples in water, thus the title.

The entire collage is coated with a layer of transparent matte gel medium to protect it from fading and dampness and dust. The 3/4 inch deep sides of the wood panel are painted white the same as the face of the panel. It has no need for framing and is ready to go on a wall right upon arrival.

As 2020 is an extremely important election year, the artist's proceeds from the sale of this piece will go to Fair Fight, an organization focused on free and fair elections in the U.S. It was founded by Georgia democrat Stacey Abrams with a mission to end Republicans' voter suppression tactics such as refusing to have universal voting by mail during a pandemic, erasing democratic voters' names from the voter rolls, discarding the registration applications of new democratic voters, and reducing the number of polling stations in neighborhoods that vote democrat.
This collage is part of the same series as my 'Night and Day 2' which Saatchi Art featured the week of April 27, 2020 in its 'New This Week' collection. It is the eighth in my 'Night and Day' series of collages mounted on wood panels. The metaphor of suffering and relief, struggle and triumph continues in it. Made in the midst of a worldwide pandemic, the ray of light that pieces the middle of the piece takes on a very immediate significance.

Each is made using entirely unique hand-printed cyanotypes. These are not etchings made from a reproducible image inscribed on a metal plate or carved in a block. My botanical cyanotypes made with living plants are all monoprints.

The colors of night and day, the good and the bad are united in one image, a reminder that day always follows even the darkest night. The acacia branches are a continuous image crossing from night to bright day and back to blue night again.

Each of the cyanotypes that was cut up to assemble one of my collages was a unique monotype made from plants in my garden. Cyanotypes, also known as blueprints or sun prints, are a 19th century alternative photographic process which does not require a camera lens.

There is a 3/8 inch (1 1/4 cm) border of white painted wood showing around the image when viewed from the front and the four sides of the 1 1/2 inch (3 3/4 cm)deep birch cradled panel are painted white. This eliminates the need for a frame. The papers used in the collage are heavy 100% acid-free watercolor paper which will not yellow with age. The paper's surface is sealed with a transparent, matte layer of cold wax.

This small collage on wood panel is made from my own hand-printed cyanotypes which I cut up and reassembled into an intricate repetitive pattern. The subtle variation of tones and texture in each small paper mosaic piece comes from it having been a blue and white print of wild grass. The overall effect somehow comes out looking like ripples in water, thus the title.

The entire collage is coated with a layer of transparent matte gel medium to protect it from fading and dampness and dust. The 3/4 inch deep sides of the wood panel are painted white the same as the face of the panel. It has no need for framing and is ready to go on a wall right upon arrival.

As 2020 is an extremely important election year, the artist's proceeds from the sale of this piece will go to Fair Fight, an organization focused on free and fair elections in the U.S. It was founded by Georgia democrat Stacey Abrams with a mission to end Republicans' voter suppression tactics such as refusing to have universal voting by mail during a pandemic, erasing democratic voters' names from the voter rolls, discarding the registration applications of new democratic voters, and reducing the number of polling stations in neighborhoods that vote democrat.

152 Views

21

View In My Room

Night and Day 8 - Limited Edition of 1 Print

Christine So

United States

Printmaking, cyanotype on Paper

Size: 18 W x 24 H x 1.5 D in

Ships in a Box

SOLD
Originally listed for $385

152 Views

21

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
DETAILS AND DIMENSIONS
SHIPPING AND RETURNS

This collage is part of the same series as my 'Night and Day 2' which Saatchi Art featured the week of April 27, 2020 in its 'New This Week' collection. It is the eighth in my 'Night and Day' series of collages mounted on wood panels. The metaphor of suffering and relief, struggle and triumph contin...

Year Created:

2020

Subject:
Medium:

Printmaking, cyanotype on Paper

Rarity:

One-of-a-kind Artwork

Size:

18 W x 24 H x 1.5 D in

Ready to Hang:

Not Applicable

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships in a Box

Delivery Cost:

Shipping is included in price.

Delivery Time:

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

Returns:

14-day return policy. Visit our help section for more information.

Handling:

Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

United States.

Need more information?

Need more information?

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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