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Eamon King’s work highlights the understanding behind any given object or surface and how this understanding is bound to a network of surrounding forms reliant on memory and familiarity. When we encounter something, we don’t interpret the object in an intrinsic state, we instead interpret the object as a reflection of its spatial residency. Each object, and its respective surroundings, are reliant on a timeline of choices; these choices either imposed upon the object or by the object itself. These choices, or actions, act as a problem of locating a mean between the knowledge and ignorance embedded in our object recognition. King challenges this concept of object recognition through an application of different spatial contexts to otherwise familiar objects. Every object has an initial conception, such as a metal pipe with the purpose of directing a fluid or gas, or a tarp to protect a vehicle from weather damage. However, when these materials and structures are placed in an alternative setting, their conception is distanced from its suggested state. When the metal pipe is in a room of metal pipes, it’s natural to assume it resides in coordination with the other pipes. However, when the metal pipe is in a room on its own, its purpose and conception is challenged, it acts as a question rather than an answer. Through the practice of resolving these problems, King attempts to reform his familiarity with objectivity both physically and metaphysically in the notion that forms are commonly presumed to be definite, yet they are subject to a network of other variables, constantly changing in value.