▁of ▁his ▁m ature ▁output . ▁Of ▁the ▁paint ings ▁and ▁prints ▁since ▁ 1 9 6 2 , ▁hundreds ▁show ▁the ▁inter play ▁of ▁tree ▁tr unks , ▁foc using ▁on ▁close ▁or ▁more ▁distance ▁views . ▁ ▁In ▁the ▁review ▁of ▁a ▁solo ▁painting ▁show ▁in ▁Manh attan ▁in ▁ 1 9 6 6 , ▁a ▁Time ▁magazine ▁critic ▁wrote : ▁" In ▁the ▁tw il ight ▁zone ▁between ▁re collection ▁and ▁imagination , ▁a ▁New ▁York ▁painter ▁has ▁found ▁a ▁vista ▁of ▁mind ▁and ▁m ood ▁that ▁he ▁calls ▁‘ the ▁Inner ▁Land s cape .’ ▁With ▁h ushed ▁t ones , ▁fe ather ed ▁br ushing ▁and ▁eer ie ▁ch iar osc uro , ▁he ▁inv ests ▁his ▁scenes ▁with ▁the ▁appearance ▁of ▁reality ▁and ▁the ▁amb iance ▁of ▁dream ." ▁ ▁S pl ash ▁III ▁( 2 0 0 3 ) ▁is ▁an ▁example ▁of ▁K ip n iss ' s ▁paint ings ▁of ▁trees ▁extending ▁into ▁grass y ▁land sc apes . ▁Many ▁paint ings ▁of ▁this ▁type , ▁which ▁occasionally ▁have ▁one ▁or ▁more ▁generic ▁houses , ▁display ▁his ▁use ▁of ▁closely ▁related ▁t ones , ▁a ▁strong ▁acc ent ▁on ▁the ▁pur ity ▁of ▁form , ▁ref ined ▁sil hou et ting , ▁and ▁pron ounced ▁lum inos ity . ▁K ip n iss ▁compos es ▁his ▁forms ▁and ▁spaces ▁separately , ▁working ▁on ▁each ▁altern ately ▁after ▁the ▁paint ▁has ▁d ried . ▁He ▁br ush es ▁between ▁them ▁and ▁recom poses ▁each ▁area