- Place where the work was made
United States of America
- Media category
- Materials used
- triptych: pencil, synthetic polymer paint, marble dust on canvas
a - left panel, 118 x 128 cm, stretcher
b - central panel, 131 x 154 cm, stretcher
c - right panel, 115.5 x 130 cm, stretcher
- Signature & date
Signed and dated u.r. verso on canvas [part a], blue and red pencil "DENISE GREEN/ .../.../ .../ 2005".
Signed and dated u.r. verso on canvas [part b], blue and black pencil "DENISE GREEN/ .../ 2005".
Signed and dated l.l. verso on canvas [part b], blue and black pencil "DENISE GREEN/ .../ .../ 2005".
Signed and dated u.r. verso on canvas [part c], blue and red pencil "DENISE GREEN/ ... 2005".
- Gift of John Dawson 2012. Donated through the Australian Government's Cultural Gifts Program
- Not on display
- Accession number
- © Denise Green. Licensed by Copyright Agency
- Artist information
Works in the collection
Green has combined a reduced schematic imagery with dominant abstract fields since the late 1970s when she first came to public attention when she was included in the exhibition 'New Image Painting', at the Whitney Museum in New York in 1978. In more recent years she has painted a series of works in which a rose is repeated as the central imagery of her painting, while the ground still remains a dominant field which the flower seems to bleed in and out of.
A rose is a poignant and laden emblem, but one so familiar as to seem almost kitsch. And yet the flower retains great beauty, the source of the symbolism which has gathered around it over the centuries. Green's rose, which moves from the colour of raw canvas to being flushed with red, seems to suggest love or love lost. And yet the repeated serial form is reduced to graphic essentials and is highly decorative; a trope for 'rose' rather than a depiction of an actual flower it is the opposite of a detailed still life painting. The schematic nature of the image adds to its effect as a symbol, and yet we remain unsure what it seeks to symbolise.
The juxtaposition of abstract painterly field and repeated flower form allows a freer flow of associations within the work whose meaning remains indeterminate. Repeated across three panels, the flower and painterly field seem as much an exercise in aesthetics as anything else, an accomplished dance between abstraction and decoration.
Where the work was made
Shown in 1 exhibition
Denise Green: wonder & evanescence, Sundaram Tagore Gallery, New York, 11 Feb 2010–06 Mar 2010
Referenced in 1 publication
Denise Green, Metonymy in contemporary art: a new paradigm, Minneapolis, 2005.
Other works by Denise Green
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