Hand lithograph on Somerset Satin paper.
Hand signed, dated and numbered by Khan.
Published by Eros Press London.
Idris Khan’s Death of Painting (2014) is a hand lithograph on Somerset Satin paper that explores density, repetition, and the limits of visual perception. The surface appears almost entirely black, yet closer observation reveals layered textures, ghostly traces, and subtle tonal variations that emerge from accumulated marks. Rather than depicting an image, Khan builds a field of compressed gestures, evoking the idea of painting reduced to its essential residue. Published by Eros Press London in a small edition, the work reflects his conceptual approach, where absence, memory, and erasure become central visual themes.
Idris Khan (United Kingdom, 1978) creates layered photographs, prints, and paintings that merge literature, music, and history into dense visual fields. Known for digitally superimposing texts, musical scores, and archival images, his work explores memory, time, and authorship, producing rhythmic, almost abstract compositions with conceptual depth.
Lithograph Lithography is a printing method based on the principle that water and oil do not mix. It can be used to print artwork or text onto paper or other suitable materials. Traditionally, an image was drawn with wax, fat, or oil onto a lithographic limestone surface or plate. Today, metal plates and other surfaces are also used in lithographic printing.
Hand lithograph on Somerset Satin paper.
Hand signed, dated and numbered by Khan.
Published by Eros Press London.
Idris Khan’s Death of Painting (2014) is a hand lithograph on Somerset Satin paper that explores density, repetition, and the limits of visual perception. The surface appears almost entirely black, yet closer observation reveals layered textures, ghostly traces, and subtle tonal variations that emerge from accumulated marks. Rather than depicting an image, Khan builds a field of compressed gestures, evoking the idea of painting reduced to its essential residue. Published by Eros Press London in a small edition, the work reflects his conceptual approach, where absence, memory, and erasure become central visual themes.
Idris Khan (United Kingdom, 1978) creates layered photographs, prints, and paintings that merge literature, music, and history into dense visual fields. Known for digitally superimposing texts, musical scores, and archival images, his work explores memory, time, and authorship, producing rhythmic, almost abstract compositions with conceptual depth.
I'm not a political artist in any way, but if an idea takes me somewhere or something is emotionally impactful, I find a way to make a painting that encapsulates it.
— Idris Khan
Idris Khan (b. 1978 UK) is a British artist based in London, known for his layered visual language that merges photography, painting, and digital processes. Khan builds dense compositions by superimposing multiple images, texts, or musical scores into a single surface, creating works that explore memory, time, and authorship. His practice often references canonical figures from art, literature, and music, reinterpreting them through repetition and compression. The resulting images balance abstraction and legibility, inviting viewers to navigate between clarity and obscurity. Influenced by minimalism and conceptual art, Khan’s work reflects on how meaning accumulates and dissolves through reproduction. His large-scale pieces have been exhibited internationally, situating him within a contemporary discourse that examines the persistence of cultural history in the digital age.
Geometric abstraction is a form of abstract art that uses geometric shapes arranged in a non-illusionistic space (though not always) and combined into non-representational (non-objective) compositions. Based on years of artistic research, some artists have proposed that geometric abstraction offers a solution to modern challenges by rejecting traditional illusionistic practices in favor of clarity and simplicity.