Pixel Colour Chart is a deeply self-aware dialogue between two artists whose practices are built on systematic repetition and the grid, making their collaboration feel almost inevitable in retrospect. Hirst's iconic spot paintings — methodical arrangements of colored circles that question authorship, seriality, and the commodification of art — find a natural counterpart in Invader's 8-bit pixel logic, where images are constructed from discrete units of color in a rigid matrix. On canvas in mixed media, the work collapses the distinction between the analog and the digital, suggesting that Hirst's hand-painted dots and Invader's ceramic tile mosaics are, at their core, the same gesture: reducing the visual world to its smallest reproducible unit. The title's reference to a colour chart evokes both the scientific and the commercial, nodding to Hirst's long engagement with the aesthetics of pharmaceutical and laboratory catalogues. The result is a meditation on how meaning emerges from repetition, and how two very different cultural vocabularies — contemporary fine art and retro gaming — can occupy the same visual grammar.