Every Colour You Are (2002) is a painting in which a reflective acrylic sheet is placed directly over a dark field of black, navy, magenta, and blue-green. The colors are fixed to the panel, but as the viewer looks at the painting, they simultaneously confront their own reflection entering its surface.

The reflectivity of the acrylic sheet and the darkness of the color field behind it were adjusted so that both the color field and the reflected image remain visible. Moving closer strengthens the self-image; stepping away allows the color field to emerge. A face, a window, or the gallery wall overlaps with the layers of color, and the appearance of the surface changes according to the viewer’s position and the surrounding light. What changes is not the color fixed to the panel itself, but the conditions under which it is seen.

As a result, looking at the painting is no longer a one-sided act of viewing an object from outside. The viewer’s own image becomes part of the surface, and the relationship between the viewer and what is being viewed is remade each time. The problem of self-image that first became explicit here developed in the next work, EUREKA, into the question of who the viewing subject is, and then in Kuu into the uncertainty of the self reflected in the mirror-like surface.