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.
From across the room, this vertical canvas reads as a calm stack of muted blocks in sage, blush, and taupe, held together by a wide teal band. One mustard block near the base keeps the stack from fading into the wall. At that distance it could pass for a simple color study. Up close the reading changes, because the blocks turn out to overlap like sheets of layered card, each plane tilted slightly against its neighbors. The gray and navy passages carry a mottled, plaster-like texture, while the pink and ivory planes stay smooth. The far view settles the wall, while the near view gives you something to study.
Vertical paintings solve a specific problem, since most homes have more tall, narrow wall segments than wide ones. This format pulls the eye upward, which makes ceilings feel higher and tight spaces feel considered rather than leftover. That suits an entryway, where the stacked blocks give a strong first impression in the few seconds people spend there. It also suits a hallway wall between doors, a spot most art is too wide for. In a bedroom it stands well beside a wardrobe or above a narrow dresser. Wherever it hangs, keep the wall paint calm so the sage, teal, and mustard blocks stay the most colorful thing in view.
Some paintings energize a room, while this one organizes it. Every color sits in its own plane with a clean edge, so the eye reads the wall as sorted rather than busy. The palette does the same steadying work, because sage green and soft blush have long been associated with calm, while the single mustard block keeps the quiet from turning dull. In the morning the ivory and yellow planes catch the light first. By lamplight the navy column and the charcoal wedges deepen, so the painting ends the day quieter than it began. That steady, sorted feeling is what it offers a bedroom or an entryway day after day.
Flat geometric work is the easiest kind of painting to place in a public room, because there is no detail to lose at a distance and nothing that reads oddly from an angle. The sage and pink hold their relationship under warm downlights as well as under daylight, which is not true of every palette. There is no glass over the surface, so nothing reflects a spotlight back at a guest and nothing can crack in transit. Light dusting is the only care it needs. If a canvas is damaged years later, we still have the design and can paint a replacement to match the others.
Muted colors do quiet work. Sage green has long been associated with balance and rest, which is why it has spread from kitchens onto bedroom walls in recent years. Blush pink softens whatever it sits beside, while taupe and olive add the weight of natural materials such as clay and stone. Against that calm company, the single mustard block near the base behaves like the one warm lamp in a cool room. The navy column along the right edge gives the composition its depth.
The canvas is built from interlocking planes rather than a single image. Blush pink panels stack along the left edge, a celadon column rises through the center, and dark navy holds the right side from top to bottom. A wide teal band crosses the middle like a shelf, separating the muted upper half from the brighter blocks below it. Underneath that band sit the painting's high notes, a mustard trapezoid over a large ivory field that grounds the whole design. Because every edge tilts a few degrees off square, the arrangement feels hand-placed rather than drafted. The eye climbs the stack naturally, which suits the tall, narrow format.
The construction follows the logic of the design. The canvas is primed with gesso so the paint layers grip without cracking, then the large base planes go down first and dry completely. Each overlapping block is painted over its cured neighbor, which is why the edges stay crisp while the planes appear to sit on top of one another like cut paper. The mottled texture in the gray and navy passages is worked in thin plaster-like layers over that dried ground. Building a surface this way takes days rather than hours, since nothing can overlap wet paint. The piece cures fully before it is packed.
This format was made for the wall segments most art ignores. As sage green geometric wall art for an entryway, it delivers a composed first impression in the space people cross in seconds. In a hallway it fills the tall gap between doorframes that wide canvases cannot use. It also earns its keep as a pink and sage abstract canvas for a bedroom, where its palette echoes two of the most common bedroom wall colors instead of arguing with them. Keep the surrounding decor simple, with pale wood, linen, and one black accent to answer the thin black frame.
Wondering what belongs next to this sage and pink color-block canvas? The golden autumn path relief painting (TA44) echoes the warm, leafy side of this palette in its golds, so the two read as relatives, with a real scene pressed into the surface. The blue and rust torn-paper wabi-sabi canvas (WA09) is the cool counterweight, since its quiet blue balances the pink without leaving the earthy mood.
For a wall above a credenza or bench, keep the width close to two-thirds of the furniture, and hang the center around 57 to 60 inches from the floor. Every size is painted to order, and you approve photos of your finished piece before it ships.
The upper half holds sage, celadon, blush pink, taupe, and olive, with a wide teal band crossing the middle. A mustard yellow block over a large ivory panel brightens the lower half, while a dark navy column anchors the right edge. Everything sits in the muted range, so the overall effect stays calm.
Yes. The mustard can shift toward terracotta, the pink can cool toward gray, or the navy can deepen toward black, each repainted by hand to your direction. True customization is a painting that fits the room, not which artist signs it. You approve photos before shipping.
Warm white and greige are the easiest partners, since they let the blocks supply the color. A muted sage wall can also work if it stays lighter than the painting's own greens. Avoid bold walls, which turn the calm palette muddy.
Very closely. The block placement and palette follow the design, while the mottled passages vary slightly because they are worked by hand. You approve photos of your own canvas before it ships.
Send us the sizes and the quantity you have in mind and we come back within twelve hours with a price per piece, your volume rate and the full trade price list. If the sage and pink need to shift toward a project palette, mention that in the same message.
Entryways, hallways, and the narrow wall segments beside windows or wardrobes suit it best, because the tall format fills spaces wide art cannot. In a bedroom it works above a narrow dresser. Let it run tall on a bare wall rather than forcing it over wide furniture.
Both, by design. The pink, ivory, and mustard planes are smooth, while the gray and navy passages carry a mottled, plaster-like texture. The relief is low compared to our impasto florals, so the piece reads as clean color first and texture second.
Dust it with a dry, soft brush or cloth. Avoid damp cloths, especially on the mottled passages. Keep it out of prolonged direct sunlight to protect the muted colors.