These pieces are some of my favorite deconstructed works yet. There are 11 works in total, six of them are framed, five of them are unframed so you can choose your own frame. The pieces themselves are 9”x11” and the framed works are 11”x14”. Several of them have already sold, but I wanted to briefly explain the methodology and inspiration behind these works.
I like to think of these pieces as deconstructed paintings. They allow the elements to shine unto themselves. The purpose of these pieces is to pay tribute and attention to the specific mediums involved. The gold pigment in the pink and gold layers sparkle in the sunshine and are thinned acrylics with gold pigmented mixed in. These layers sparkle from every angle, I love the sheer sparkle of these layers.
See all 11 here.
The thick layers of white paint are rich and glossy. I love thick goopy paint and these layers do not disappoint. Like sour cream you could lick it right off painting. I go through more white than any other paint, I have to buy almost 4 times as much white than any other color. These thick deep rich strokes are a tribute to the paint I use the most. The goal was to let it shine unto itself, without being diluted with other colors, I wanted to appreciate the stroke for the white stroke itself and all it brings to my art.
The thin graphite lines add a delicate touch, and sense of frailty. I love the jagged pencil strokes because they are imperfect to me they symbolize the frailty of life, the jagged beauty of every day that twists and turns and sometimes goes off the page. It jumps around but the rough beauty holds the rest of the pieces together.
The bits of gold leaf add some sparkle and shine to each piece. The pieces of gold hold the works together and provide focal points. These bits of gold shine unto themselves, as a core feature in all my works. The gold is the good stuff, the parts of life you can’t ignore, the bits that make the other parts worthwhile. These pieces of gold stand alone among the other elements swirling around them, untarnished, unmoved, unapologetic
These pieces are mixed media on paper. The framed works come in framed a glass floater frame and is ready to be hung or stood up with accompanying kickstand. If you would like one of the unframed works to be framed just send me an email and I can easily frame it for you upon request. Thanks for your interest in these works.
Shop all deconstructions here!
They’re all here! All the pieces of cheer have been made into prints of every kind. Regular prints, framed prints, canvas prints, tapestries, and more!
I have received so many requests for these prints and am so excited to give them to you now. These pieces as originals sold out in just a couple of hours. Turning items like these into prints means I can spread the love and everyone can get a piece even if the original is sold. I love getting DMs and emails from people who ordered my prints and them showing it to me in their homes and spaces. I get messages from mothers who buy prints for the nursery of their new baby. I get emails from college students who have decorated their dorm room with a tapestry or duvet cover of mine. I love seeing where they end up, because to me, art is personal. And getting to see where they end up in your lives and to see how much joy they give you, is the biggest blessing I could ever ask for. Here are my 5 new prints available below.
- Piece of Cheer 1
- Piece of Cheer 2
- Piece of Cheer 3
- Piece of Cheer 4
- Piece of Cheer 5
Tag your CEO prints with #christineolmstead
I don’t know if I’ve ever shared the painting process of a piece from start to finish. I thought I’d outline what goes into a large commission so you can get a sense of the process. This will be a glossary overview, if you have any specific questions about the process, just comment below and I will answer right away!
This piece was a custom 7ftx4ft commission for a commercial space. The style of this piece was based on a previous work of mine from my Heal Me series. The piece was a peachy pink, white, with gold leaf lots of texture, and lots of depth. This piece was started on unstretched canvas. Meaning I hadn’t yet stretched it to its wooden frame. I primed the canvas with gesso first. This is the unstretched piece ready for painting!
The next step after priming was adding texture. I knew I wanted this piece to be very deep and rich. I wanted there to be so many layers so that when you get up close and personal with the painting you could see the many many layers below. The first few layers were soft gels and thick swirls of maroon paint. These layers were for texture, I love it when the lumps and bumps on a piece have a distinct tone all to themselves.
The next layer was to do a grey over most of the texture. I wanted the piece to have a weight to it and strength of depth. This thin layer of grey was going to give the piece more dimension.
The next step was to bring in the light colors again and start add more color for the focal point undertones. Here I’m adding layers of white, peach, and a burnt salmon color over the grey.
In order to create a shadowy effect of layers I did another grey wash over the top, and I also started to blend the colors together.
Just a little process shot, because a lot of this piece was watching paint dry….. so much drying. so much waiting.
The next step was to add the prominent colors the peach and pink tones were next before brightening the piece.
Here is some up close detail of these layers drying. Look at that depth! Yummy!
Before I could finish the piece I knew I had to see it stretched, before I really got down to the final layers, I needed to make sure my focal point were in the right place on the canvas. So I assembled the frame.
Once the frame was put together it was laid on the face down canvas and stapled. together, I used 315 staples to get this piece stretched. The whole stretching process took 4.5 hours.
Yay! the piece was stretched. This is it standing up. This photo was dark at night so the colors are a bit off but having the piece stretched was a relief and I could really got to work on the final layers.
The movement of the piece was coming together, these layers are mostly a lot of blending and blending and softening.
More blending and the adding of more white.
Gold leaf was applied and this was the first rendition of the piece. below. In my mind, this piece was finished and ready to go. We just needed the client to approve it. I was invited to the space where it would be hung and determined I had some changes to make.
This is the space where this piece is going. I felt that my piece was too cool toned. I also thought that the client would ultimately not be happy with a pink piece in this space. They gave me creative license to change it, and I pivoted from the cool pinky shades to something that would “blend seamlessly into the space,” as was the goal for this piece. This room has a lot of yellows, greys and over all has a warmer shade to the room than my piece does.
With that in mind, I washed my piece several times in layers of yellow, and greyish white, trying to get it to a place where it would blend into the walls.
We brought the piece onsite for install. This is Bill, the hanging guy who did a fabulous job of hanging this piece!
Et voila! The installed piece in it’s space matching its surroundings and maintaining the depth I wanted the whole time! This whole process took about 2.5 months and countless hours. Special thanks to the Latela team for bringing me on to this project, it was such a blast working with you and I love where the piece ended up! And thank you to Bill Byrne of the Byrne Gallery for taking such care in hanging this piece. Until next time!