In King’s Bath, Gregory Kitterle presents a complex and layered scene using fresco on panel, where swirling forms and fragmented figures evoke a dreamlike, almost mythological narrative. The central element of the composition—a dark, oval pool—seems to represent a ritualistic or symbolic space, from which dark smoke or steam rises, spiraling into the sky in ghostly rings. The figures surrounding the pool are abstracted, their forms blending into the muted, earthy landscape that surrounds them, as though they are part of the environment itself. Kitterle’s textured use of fresco amplifies the scene’s sense of history and mystery, as though this "bath" exists within an ancient or timeless realm.
The swirling shapes and abstracted forms might draw comparisons to Paul Klee, whose work similarly merged the abstract and the symbolic to create playful yet profound narratives. However, Kitterle’s fresco technique, with its rough surface and emphasis on texture, sets him apart, grounding his abstract forms in a tactile reality that seems to emerge from the surface itself.
The title, King’s Bath, adds an air of authority or ritual to the work, suggesting that this scene could be a place of cleansing, renewal, or even transformation. The figures, although muted, seem to take part in this ceremonial space, while the dark pool and rising smoke evoke mystery and perhaps even a sense of foreboding. The swirling shapes above suggest movement, adding a dynamic element to the otherwise still composition, as if something unseen is being summoned or released.
Kitterle’s ability to blend abstraction with a sense of place and narrative makes King’s Bath a captivating work, inviting the viewer into a world where texture, light, and shadow come together to tell a story that is both personal and universal. The fresco medium itself reinforces the sense of time and history embedded in the work, as if the scene is both emerging from and dissolving back into the material of the panel itself.
