Where Blue Holds Distant Ground I — original vertical abstract painting by Sonia Jeronimo in blue-green, mineral grey and earth-toned layered textures.

Close-up of Where Blue Holds Distant Ground I showing woven fibres, metallic-earth tones and dense material texture.

Surface detail of Where Blue Holds Distant Ground I showing layered blue-grey pigment, copper-toned traces and textured material relief.

Close-up detail of Where Blue Holds Distant Ground I showing exposed textile structure, mineral residue and copper-grey material layers.

Surface detail of Where Blue Holds Distant Ground I showing pale blue-green texture, fine linear marks and embedded fibres

Close-up of Where Blue Holds Distant Ground I showing open textile weave, dark mineral matter and blue-green surface depth.

Scale visualisation of Where Blue Holds Distant Ground I in a bright contemporary interior with a standing person nearby for scale.

Scale visualisation of Where Blue Holds Distant Ground I in an elegant interior with architectural wall detailing and neutral furnishings.

Scale visualisation of Where Blue Holds Distant Ground I in a contemporary dining interior with dark wood finishes and warm lighting.

Scale visualisation of Where Blue Holds Distant Ground I in a refined contemporary interior with a person walking nearby for scale.

Scale visualisation of Where Blue Holds Distant Ground I in a warm hospitality-style corridor with architectural lighting.

Where Blue Holds Distant Ground I

€3,325.00

Atmospheric Blue Series — Blue as Behaviour · 2026

212 H × 103 W cm | Acrylic, gesso, modelling paste, natural sediments from the Seia River and Lagoa Comprida, Serra da Estrela, Portugal, and natural palm fibres from Cabo Verde on unprimed raw cotton canvas | Original artwork · Unstretched · Unframed

Where Blue Holds Distant Ground examines how a vertical field of colour and matter can register territory without representing landscape.

Natural sediments from the Seia River and Lagoa Comprida are combined with gesso, modelling paste and natural palm fibres from Cabo Verde on raw cotton. Through absorption, gravity, sedimentation, abrasion and layering, the surface develops between exposed support, mineral accumulation and atmospheric blue.

Its elongated vertical format intensifies the relationship between gravity, descent and distance. From across a room, the painting reads as a restrained spatial field; at closer range, sediment, fibres, scratches and variations in density become increasingly visible.

Explore the material research behind the work ↗

FOR ARCHITECTS & INTERIOR DESIGNERS:

At 212 × 103 cm, Where Blue Holds Distant Ground has a strong vertical architectural presence while retaining a relatively narrow footprint. It is particularly suited to tall walls, circulation areas, hospitality, wellness, residential and professional interiors where vertical proportion is integral to the space.

As an unstretched work, it can be professionally stretched and framed according to the requirements of the project. Sonia Jeronimo Studio can provide technical information regarding placement, stretching, framing, lighting, delivery and installation.

Discuss this work for a project ↗

ACQUISITION & TECHNICAL INFORMATION:

YEAR: 2026

SERIES: Atmospheric Blue Series — Blue as Behaviour

DIMENSIONS: 212 H × 103 W cm — full painted dimensions

MEDIUM: Acrylic, gesso, modelling paste, natural sediments from the Seia River and Lagoa Comprida, Serra da Estrela, Portugal, and natural palm fibres from Cabo Verde on unprimed raw cotton canvas

PRESENTATION: Unstretched

FRAME: Unframed

PACKAGING: Protective tube

DOCUMENTATION: Certificate of Authenticity and technical & installation sheet included

SHIPPING: Quoted separately

DELIVERY: Worldwide

WARRANTY: 15 days return

INSURANCE: Yes

PHOTOGRAPHY & COLOUR ACCURACY:

The artwork contains a carefully developed range of pale silvery blue-grey, mineral blue, navy and deep blue-black. These tones shift according to the quality, temperature and direction of the light.

Under diffused natural daylight, the lighter passages appear cooler and transitions between blue-grey and mineral blue become more visible. Under warm artificial light, the darker areas gain greater density and the painting develops a deeper, more enveloping presence. Directional or lateral light reveals scratches, residual marks, layered applications, mineral accumulation and subtle variations in surface reflectivity.

Digital photography cannot reproduce the complete tonal depth and material complexity of the original painting. Camera sensors, white-balance settings, screen calibration, ambient light, image compression and online colour profiles may lighten pale areas, intensify certain blues or reduce detail within the darkest passages. Variations in texture, density and sheen are intentional and form part of the artwork’s material character.

Online and printed images are therefore representative only; the original painting remains the definitive reference for colour, surface, scale and tonal depth.