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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.
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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

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SOLD
Originally listed for $400
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149 Views
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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

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.

Details & Dimensions

Printmaking:cyanotype on Paper

Original:One-of-a-kind Artwork

Size:18 W x 24 H x 1.5 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.

Artist Recognition

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Artist featured by Saatchi Art in a collection

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