In Triple Play, Mona von Wittlage multiplies the figure into three incarnations, rendered in blood and graphite across a monumental grid of sanitary bags. The central body stands upright, legs apart, radiating strength and defiance, while the flanking figures crouch and recline, echoing her presence in gestures of seduction, resistance, and vulnerability.

The repetition transforms the body into a choreography of power, each pose resonating between intimacy and performance. The utilitarian ground—its insistent warnings and fragile materiality—becomes a stage where private traces are turned outward, made public, impossible to ignore.

Blood, here, is not only substance but script: an inscription of desire, mortality, and identity. Triple Play embodies the tension at the heart of the Bloodpaintings—the longing for permanence within a medium destined to fade, and the paradox that fragility itself may be the most enduring mark we leave.