Kieff acquired the technical knowledge and tools to sculpt his forst works in wood through his apprenticeship in cabinetmaking with his father during his youth. Based on his music studies and still as inspired by Arp and Brancusi, he uses the material’s sensualities in these early pieces and it was his passion for modernist sculpture that led him to where he is today. Galleries, critics and the general public received this new artist - seemingly coming out of nowhere - with significant enthusiasm. His next work, as if waiting to be born, always appeared to hold its newest child within its own creative ingenuity. Aware of the difference between being an artist and living from his art, he quickly took on a formal language that would allow him to live from his work without abandoning his identity.

​

Searching insatiably, Kieff broadens his views in the possibilities offered by curve, convex, concave and perspective. He stands in front of sculpture as an intruder aware that his work violates space, the same space that will unleash the work in four dimensions.

​

He sees success and failure as a substantial part of his growth. Kieff has always maintained: a mistake is a way of finding that which you seek. You work alone and the work will come to you.

​

His art, always abstract, never represents the outside world. Moved by how music leads his way, he looks for the direction and quietude in rhythm. In this sense he owes much to, amongst others, Mozart, Beethoven, Schubert, Schumann, de Falla and Granados. He is also indebted to the philosophies of Kant, proportioning him with the elements necessary to find or create the equilibrium he desired in his works.

​

Nowadays Kieff considers his art like an attempt to materialize the rhythm, silence and tempo he has himself found in music. He truly is a sculptor of music, literature and drama.