VIEW IN MY ROOM
United States
Painting, Acrylic on Wood
Size: 24 W x 24 H x 1.5 D in
Ships in a Box
Artist Recognition
Showed at the The Other Art Fair
Artist featured in a collection
The most important election in America’s history was two days away as I painted this last November. The news had been reporting that more people had already voted early than had voted altogether in the 2016 election in many crucial states. It gives me hope to see people realizing the importance of voting and of their participation for this to be a truly representative democracy. Every young person who was in high school when Donald Trump was elected is now old enough to vote. Gold, like yellow, is the color of hope. To see it shining through from behind another color is like seeing rays of sunshine. I chose robin’s egg blue, the color of the horizon at daybreak, with the gold light of the sun shining behind shapes of leaves on trees. Each small square is like a separate morning, a view out the window of the sky and trees at daybreak. Each square is a slightly different shade of pale blue. The light’s angle can make the gold paint appear darker or lighter, something you notice as you walk past the painting. When light is shining directly perpendicular to the painting’s surface, the gold appears very pale, but when light hits it at an angle, the gold can seem almost bronze. 1.5 inch deep wooden sides are painted the same gold to match, creating a built-in frame.
Painting:Acrylic on Wood
Original:One-of-a-kind Artwork
Size:24 W x 24 H x 1.5 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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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. 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.
Handpicked to show at The Other Art Fair presented by Saatchi Art in Los Angeles
Artist featured by Saatchi Art in a collection
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