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United States
Photography, cyanotype on Paper
Size: 18 W x 24 H x 0.1 D in
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This is one of the last unsold prints of my 'Fireflies' series and 'Late Afternoon' series from the summer of 2019. Both were created using the same technique I devised which I call "saltwater cyanotypes". The watery effect on the flowers' silhouettes and their leaves so evokes seaweed billowing under the sea, that I've changed the name of this piece to 'Octopus' Garden', a nod to the Beatles and the fact we'll all soon be under water if we don't stop using fossil fuels. Though this looks like an aquatint etching or a watercolor wet-on-wet painting, it's not. It is experimental photography. Specifically a 19th century alternative form of cameraless photography called a cyanotype. All my botanical cyanotypes are made with living plants and are unique monotypes. There is no film negative nor etching plate to make copies. I call the particular method I used in this series "saltwater cyanotypes." My technique of wetting the flowers in salt water before placing them on dry paper coated with light-sensitive photo emulsion creates a watery, blurred effect. As the saltwater interrupts the normal darkening process of the photo chemicals which are themselves iron salts, when the photo emulsion is exposed to light, the result is mid-tones and third colors besides indigo and white. There are pale blues and blue-greens.
Original Created:2019
Subjects:Popular culture
Photography:cyanotype on Paper
Original:One-of-a-kind Artwork
Size:18 W x 24 H x 0.1 D in
Frame:Not Framed
Ready to Hang:Not applicable
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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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.
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