VIEW IN MY ROOM
United States
Photography, Cyanotype on Paper
Size: 7.5 W x 11 H x 0.1 D in
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This is a very small handmade contact photo using the antique cyanotype process from the 1800s. All of my hand-printed cyanotype photographs are “contact photos”, which means that the large negative is exactly the same size as the paper that the photo is printed on because the negative is laid directly on top of the paper while it is being exposed. These iconic Monterey pines can be found all up and down the California coast from San Francisco to Carmel and beyond. These pines here are in the woods near my house across the bay from San Francisco. They are especially magical emerging from the fog on mornings like this one, which are quite frequent regardless of the season. This is slightly darker blue version is one of several smaller studies for larger larger print of the same photograph. I test the ideal exposure time and range of values (contrast) before I waste larger more expensive paper. In a few days I'll have larger sizes available. The paper is a heavy 100% cotton watercolor paper. Slight variations of shades of blue exist from print to print as each sheet of paper was hand-painted with photo chemicals in the dark and printed in natural sunlight with variations in the weather and intensity of light causing some prints to be darker than others.
Photography:Cyanotype on Paper
Original:One-of-a-kind Artwork
Size:7.5 W x 11 H x 0.1 D in
Frame:Not Framed
Ready to Hang:No
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
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, Oakland International Airport. Represented by Thomas Deans Fine Art of Atlanta, GA. 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. About my 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 made 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.
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