Each PaletteMomento piece is an original, made to order and finished entirely by hand.
Built to last and easy to install. Every piece is made to look right on the wall and stay that way for years.
Make it truly yours. Beyond size and color, we can paint almost anything you can imagine.
Every painting is created the slow way, by hand, by real painters, one canvas at a time.
Nothing leaves the studio that you have not already seen and signed off. We work with you at every step, so there are no surprises on arrival.
Packed the way your project needs it. Prices are EXW our Shenzhen studio, so the freight stays visible and separate.
Any size outside this list is produced to your dimensions at the same rate.
Rolled Canvas
Frameless Stretched
Black Frame
White Frame
Wood Frame
Silver Frame
Gold FrameWhatsApp: usually an immediate reply. Email: usually within 12 hours.
Or email support@palettemomento.com
We paint every piece to order in Dafen, Shenzhen, so the size, the palette and the finish are all decided by your project rather than by what happens to be in stock. You see photographs of the finished canvas before it ships, and nothing leaves the studio until you approve it. Trade pricing starts at one piece, and the rate improves as the count goes up.
This abstract woman is built from thick slabs of paint, so how she looks depends a lot on the light around her. The tall aqua stroke down the center of the body is pulled so thick that you can see the drag lines the knife left, and in daylight those grooves stay soft and even. As the light drops lower in the afternoon, the raised edges of the copper band across her shoulders and the mint slabs at the crown begin to throw shadows, which gives the whole figure more weight. Under a lamp at night the surface sharpens again, since every ridge catches the warm light on one side and falls dark on the other. A flat print of the same image would hold still all day, whereas this painting keeps changing with the room.
Picture this canvas on the main wall of a living room done in calm, warm neutrals. The sofa is oatmeal linen, the walls are soft off-white, and a single terracotta cushion picks up the burnt-orange arm at the lower left of the painting. Because the figure already carries so much teal, navy, and pink, the room needs almost nothing else to feel finished. A person walking in reads the bold abstract woman first, then notices how that one cushion ties her into the space. This is how a single strong piece can set the whole color scheme for a room.
Each canvas is painted by hand, so small differences will show from piece to piece across a run. The figure holds its shape on every canvas and the teal, pink and navy stay in the same proportions, which is what makes a group of these read as one commission. The impasto marks land differently every time, inside a normal and acceptable range. If units need matching, we paint the run against one reference canvas.
Thick paint over a figure means the shape has to be settled before the texture goes on. One to five pieces takes about nine to ten business days, and a run of twenty about fourteen. The drying between the base and the impasto is what sets the floor on this schedule, so it is not a design we can compress much.
A large, empty wall is hard to furnish, since anything too small floats in the middle and looks lost. A single bold piece is usually the answer, and this abstract woman is built for that role. She fills a tall canvas with high-contrast slabs of teal, navy, copper, and pink, so she reads clearly from across a room. Because the image is abstract rather than a literal portrait, it carries that weight without telling a fixed story. On a wide sofa wall, one painting like this does what a scattered gallery of small frames often cannot.
The figure sits just left of center and reads as a woman seen from behind, with her dark hair gathered up at the crown. Her form is built from broad blocks of color, not drawn lines. A tall aqua stroke runs down the center as the body, a copper-brown band crosses the shoulders, and slabs of navy, olive green, and deep burgundy build the sides. Small stacked strokes with candy-striped edges sit at her left, where the knife carried several colors at once. Around her, loose washes of teal and warm peach hold the background, giving the busy figure a calm field to stand against.
Each canvas is built by hand in layers rather than laid down in one sitting. It begins with a coat of gesso, which primes the surface so the thick paint holds well and resists cracking over time. The broad background washes of teal and peach go on first, and they dry before the figure is built on top. The heavy strokes that form the body are then pulled with a palette knife over that cured ground, so the aqua ridges and copper band keep their raised edges. Each thick layer must dry before the next, which is why a piece like this takes days rather than hours.
Because the paint stands in real ridges, this painting is sensitive to how it is lit. Side light is its friend, so a nearby window or a wall washer set to one side will rake across the surface and lift the knife marks in the aqua body. A single bright bulb overhead flattens the relief and wastes it. In practice the canvas looks softest in flat daylight and most dramatic under an angled evening lamp, when each raised slab catches the light on one edge. Give it a wall where the light arrives from the side rather than head-on.
This bold, contemporary piece works as teal and pink abstract wall art for a living room, a home office, or a large bedroom. Above a sofa it anchors the room, behind a desk it beats a blank wall on video calls, and above a bed it adds character. An entryway is another strong choice, since the figure makes a confident first impression. Style-wise it suits modern and eclectic interiors. It sits naturally against warm neutrals such as oatmeal, greige, and soft terracotta, which echo the peach and copper already in the paint.
Want a companion for this teal and pink impasto woman? The white magnolia relief painting (TA39) echoes the same knife-built texture, so the two share a family look even as the colors shift. The brown and cream wabi-sabi canvas (WA05) is the quiet counterweight, since its soft neutrals calm the bold teal without stealing the show.
Above a dresser or bed, keep the width close to two-thirds of the furniture, and place the center around 57 to 60 inches from the floor. Each size is painted to order, so you approve photos of your finished piece before it ships.
It reads as a woman seen from behind, with her dark hair gathered up at the crown and her form built from bold blocks of color. Because it is abstract, the details are left open, so different viewers see slightly different moods in her. The palette runs through teal, navy, copper, burgundy, and pink.
Warm neutrals work best, with off-white, oatmeal, and soft greige giving the bold colors room to breathe. Soft terracotta also pairs well, since it echoes the copper and peach in the painting. Avoid a strongly colored wall, because it competes with the figure and dulls both.
Yes. The teal and pink can be shifted cooler or warmer, the background can be calmed or brightened, and the overall contrast softened. Each canvas is repainted by hand to your direction, so it is a real change in the paint rather than a filter over a print.
Yes, it is one of its best placements, because a bold image behind a desk reads well on video calls and gives a plain wall real character. The abstract subject holds attention without the fixed story of a literal portrait.
Very closely, though the knife work varies a little from one piece to the next, since each one is painted by hand. That slight variation is the mark of an original painting. You approve photos of your own finished canvas before it ships.
Dust it occasionally with a dry, soft brush. Avoid damp cloths on the raised slabs of paint, since moisture can sit in the grooves. Keep the canvas out of long hours of hard, direct sun.
There is no minimum. We paint one piece as readily as forty, and trade pricing starts at the first canvas rather than at some threshold. If you are testing the design in a single suite before committing to a floor, that is a normal way to start and we price it the same way.
About two thirds the width of the sofa is the reliable rule, with the center hung near 57 to 60 inches from the floor. On a narrow wall, the tall format can run full height instead. Every size is painted to order.