For this exhibition, Comfort fuses monochrome and polychrome models of non-objective abstract painting. Working with a prime form as a starting point, Comfort uses the concept of the multiple to create a group of almost identical works that differ through subtle visual changes. In her work, repetition implies infinitude. As such, repetition becomes a tool to build variables upon each other in a state of continuous transformation. The resulting work activates a play of harmonies and dissonances, enabling areas of intense primary colour to create depth and luminosity while at the same time playing with light and shadow, to allow for an ever shifting perception of each individual painting.

Architectural form and photographic documentation of the industrial and hyper-urban environments of Melbourne’s South East inspire the austere geometry in Comfort's works. Contrasting this austerity, her work also is intuitive and based on playful experimentation. For Comfort, there is no hierarchy within a group of her paintings. Instead, it is important that her paintings can exist as a ‘group’ of multiples. Comfort's austere yet vivid hybrids of paintings explore relationships between colour and structure. The works maintain a focus on the square and the grid as central elements. In her work, the square format acts as a reference to icons of Modernism, alluding to Malevitch and to Minimalism.