 
                                    
                            
                            Ken Kiff
                                GT/KK 2-96 A7 (Red Flower, River, Woman) light version, 1992 - 1996
                            
                                    Oil on paper over monoprint
Image: 105 x 251 cm
41 3/8 x 98 7/8 in
Paper: 126 x 261 cm
49 5/8 x 102 3/4 in
Framed: 143 x 279 x 5 cm
56 1/4 x 109 7/8 x 2 in
                                    41 3/8 x 98 7/8 in
Paper: 126 x 261 cm
49 5/8 x 102 3/4 in
Framed: 143 x 279 x 5 cm
56 1/4 x 109 7/8 x 2 in
                                   'Untitled - Red Flower, River, Woman, (light version)' is a vibrant, monumental monotype triptych. Only two monotypes were made, one light version and one dark version. The piece was initially...
                        
                    
                                                    'Untitled - Red Flower, River, Woman, (light version)' is a vibrant, monumental monotype triptych. Only two monotypes were made, one light version and one dark version. The piece was initially made in December 1992 at Garner Tullis studio in New York, during Kiff’s residency as Associate Artist at the National Gallery, London. This light version remained in New York until 1996, when Kiff pinned it to the wall and painted on it in oil paint to finish the work. Kiff would often work on paintings over a number of years, so although there was an immediacy to the monotype, coming back to the work years later is in line with his process of letting his thoughts develop over a long period. Compositional elements in the work echo ‘The National Gallery Triptych’ (1993) such as the female figure on the right-hand panel as well as the landscape, inspired by the paintings Kiff studied at the National Gallery from Patinir’s ‘Saint Jerome in a Rocky Landscape’ to Giovanni di Paolo’s ‘St John the Baptist Retreating to the Desert.’ This work includes Kiff’s enduring motifs, of the sun, the tree and a small figure in a vast landscape. Here the motifs are simplified which allows for a deep exploration of colour and texture. Andrew Lambirth notes the ‘monotype triptych from 1992, is more about the break up of colour into interesting textures to differentiate the three panels than it is about ostensible subject matter…These monotypes and encaustics are ample proof of his ability to ‘listen’ to his materials and work in collaboration with them. They serve as yet another example of his mastery.’