A weathered wooden surface becomes the foundation for Sebastian Lloyd Rees's layered accumulation of industrial paint, spray glue, and environmental residue, evoking the scarred facades of urban hoardings. Pollution and water have left their traces alongside deliberate applications of tape and pigment, collapsing the boundary between artistic intention and the uncontrolled marks of the city. The work inhabits a tension between the proprietary nature of color — suggested by its Norwegian subtitle, meaning "proprietary color spaces" — and the democratic, indiscriminate way that urban surfaces absorb and record everything they encounter.