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Christine SoMisty Evening Poppies (20 x 14 inch cyanotype)2023
2023
$200
£153.58
€176.18
CA$281.02
A$314.73
CHF 164.22
MX$3,844.27
NOK 2,089.36
SEK 1,969.47
DKK 1,314.82
About the Item
These are the silhouettes of the native Californian Matilija Poppy also known as giant tree poppies and Coulter's Poppy. They grow over 4 feet tall and appear each year in summer.
Although this monotype looks like a screen print or woodcut, it is a form of 19th-century lensless photography. The normal color of a cyanotype (blueprint) is dark blue and white, but the artist altered the color by altering the chemistry.
NOTE: This monotype is a darker gray compared to "Misty Poppies" of the same size. The other is a paler gray-green. They are the same 14 x 20" size paper and images of the same species of flower and could be hung as a diptych.
This unusual gray color of cyanotype was made by altering the ratio of the two chemicals which comprise the photosensitive solution before brushing it onto the paper as well as the exposure time.
Every one of the artist's botanical cyanotypes is an entirely unique monotype as the freshly cut plants are laid in that one exact composition only once before they wilt. There is no copper plate; there is no ink or printing press.
Hand-printed on cotton watercolor paper with straight edges, not deckled edges.
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- Creator:Christine So (1970, American)
- Creation Year:2023
- Dimensions:Height: 20 in (50.8 cm)Width: 14 in (35.56 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Oakland, CA
- Reference Number:1stDibs: LU2737215919682
Christine So is an American printmaker, photographer and painter living in the hills across the bay from her hometown, San Francisco. She is best known for her blue and white cyanotype photographs of forests shrouded in fog. The Foggy Woods series is ever-growing as the artist continually hikes these hills which are often foggy at dawn. She explores radically different ways to use this antique photographic medium with and without out a camera. At times her blue prints look like screen prints. At others like abstract watercolors. Besides printing photographs from negatives, botanicals using entire branches, altering the chemical recipe to obtain novel colors, and creating abstract cyanotypes of deliberate patterns, she also paints images using the light-sensitive solution and prints a pattern within them. These last works she calls “cyanotype paintings”. The multiple-day process depends on being able to see while painting in a dark room so as to not expose the light-sensitive painted silhouette before it’s time. She named her series of botanical paintings which have a fine blue and white pattern “Delft Garden” after the Dutch painted porcelain. 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.
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Misty Poppies (20 x 14 inch cyanotype)
Located in Oakland, CA
These are the silhouettes of the native Californian Matilija Poppy also known as giant tree poppies and Coulter's Poppy. They grow over 4 feet tall and appear each year in summer. Al...
Category
2010s Contemporary Still-life Prints
Materials
Paper, Archival Paper, Rag Paper, Monotype, Photogram
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This unique multistep technique is a combination of a painting and a photograph or monotype. Cyanotypes are a kind of alternative photographic process from the 1800s. The chemicals are different from those used in black and white photography. The light-sensitive chemicals can be used to print blue and white photographs from a large negative or a person can capture the silhouette of solid objects rather like an x-ray in blue and white.
In her Delft Garden series, artist Christine So first drew the outline of a plant in pencil and then painted it in a dark room —not paint– but with the cyanotype light-sensitive emulsion. When the painting had dried, she arranged plants on top of the painted silhouette in a pattern that would leave gaps like lace, carefully moved the entire bundle outside while still covered and then exposed the pattern multiple times at different angles to the sun, to achieve various shades of blue and white. The heavy cotton watercolor paper then needed to be thoroughly rinsed in order to stop the darkening process.
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