King Colours is a project with 2 parts: 

1. A major painting installation based on the colours of the 1st floor facades of King Street, starting from No. 1.

The paintings installation is pursing ideas about space, light, surface, transparency, repetition, colour and states of perception.

Together, the paintings and photographs record and transpose the colours into a dynamic and thought provoking insight into place and time in the Marrickville shire, addressing both the historical and contemporary aspect of site and space.

If the essential ingredient in art is work (or effort), how does the monochrome attain the state of being an artwork? The monochrome is extremely good at hiding any work or effort. Monochrome paintings are static. They are silent and reflexive, in opposition to information overload. A certain amount of time is required to bring forth that ‘something’. That ‘something’ would include colour and scale. A large scale suggests a non-personal work, a public mode rather than a private one (a small one would be perceived as more intimate one due to the closeness of the viewing distance).

The surface of a monochrome is not merely empty - it is either waiting for something to happen or recording the disappearance of something that has already transpired. It draws as it withdraws. But in withdrawal, things never disappear without leaving a trace. These traces, these residues, come to be cited as though they were the thing itself in its absence.

An empty space both physically and mentally, is a space to develop one’s own space. It gives a chance to recover what is lost in the world of the televisual. King Colours is silent and reflexive, in opposition to information overload. In that silence the transparent nature of things in the world, which reflect only themselves in their multiplicity, can be contemplated.