Newtown is not a suburb where colour is difficult to find. King Street runs through a busy inner-city neighbourhood of old shopfronts, restaurants, music venues, theatres and small businesses, while murals and other forms of street art appear on walls, shutters and laneways throughout the surrounding streets. Even in this visually crowded environment, the enormous mural at 407–409 King Street is difficult to pass without looking twice.
Across the upper section of the building, a blue-haired young woman leans forward with an expression somewhere between concentration and alarm. Her arms stretch across the wall as she appears to react to something happening below her. Nearby sits a vase of flowers. Beneath her, the image changes dramatically as yellow, orange and red forms spread across the building. Fish and other marine creatures emerge among curling lines and intricate patterns until the lower part of the mural seems almost alive.
This is A Rising Tide, painted in 2019 by Australian artists Ox King and Phibs. Inner West Council records the work at 407–409 King Street, Newtown, as part of its Perfect Match public-art program. Council's archive identifies the title, artists, year and address, while its material for EDGE Newtown 2019 provides a contemporary record of the collaboration. [1, 2]
The Geo Kid first photographed the mural in September 2025. We returned to Newtown in August 2026, almost seven years after the artwork was created, to visit it again and film the mural for this Street Art Explorers story. A Rising Tide was still clearly visible across the Holt Street-facing wall. That second visit gives us something particularly useful for an article about public art: a current first-hand record that the work remained in place in August 2026.
At first glance, the mural might appear to be a story about flooding and climate change. It is partly that, but its intended meaning is more layered. The rising water is also used to explore the pressure faced by a young person trying to afford somewhere to live. Environmental change and housing and rental pressure are brought together in the experience of somebody who is trying, both literally and figuratively, to keep her head above water. [5, 6]
That combination makes A Rising Tide a fitting place to begin Street Art Explorers. One wall gives us two artists to meet, a neighbourhood to investigate, an environmental and social story to consider and a real location to find. In doing so, it also gives us an opportunity to practise an important geographical skill: learning how to move from knowing roughly where something is to being able to locate it precisely.
Street Art Explorers — At a Glance
| Artwork | A Rising Tide |
|---|---|
| Artists | Ox King and Phibs |
| Created | 2019 |
| Location | Newtown, Sydney, Australia |
| Address | 407–409 King Street |
| Artwork wall | Holt Street-facing wall |
| Program | Inner West Council Perfect Match |
| Coordinates | 33.900080° S, 151.177794° E |
Watch Geo Find the Artwork
Discover the Art
A Rising Tide
Inner West Council's Perfect Match archive identifies A Rising Tide as a 2019 collaboration between Ox King and Phibs, whose name is also given as Tim de Haan, at 407–409 King Street in Newtown. The mural formed part of Perfect Match, a Council program through which artists are paired with walls and the people connected with them to create site-specific public artworks. [1, 3]
The mural was not painted onto a clean rectangular canvas. It covers the exterior of an existing building, so windows interrupt the image, pipes travel vertically through the composition and doorways break into the lower section. Rather than removing these features, the artists had to create around them. This is one of the interesting differences between making art for a gallery and making art for a street. The dimensions, architecture and everyday use of the building already exist before the artwork begins.
Two distinctive visual worlds occupy the wall. Across the upper section, the large human figure provides an immediate focal point. Her vivid blue hair is surrounded by dark blues and turquoise, and the clarity of her face and body makes her easy to read from a distance. Beneath her, the composition becomes increasingly organic. Fish and unusual creatures emerge among the complex shapes and patterns characteristic of Phibs' work, while the palette moves towards yellow, orange and red. [7]
The boundary between these areas is not calm. The lower world seems to be pushing upwards, giving the impression that something is entering the young woman's space. Once we understand the story behind the mural, this movement becomes especially important. She is not simply part of a decorative portrait. She appears to have been caught at the moment when her surroundings are becoming unstable.
The artists' two styles remain recognisable, but the story requires them to work together. The figure gives the scene a human centre, while the organic forms beneath her give us the force she is confronting. The mural does not ask one artist to disappear into the style of the other. Instead, their differences become part of the composition.
Look First, Explain Later
Before finding out what an artwork is supposed to mean, it is useful to spend time simply looking at it. This helps us separate what is genuinely visible from what we later learn through research.
In A Rising Tide, notice the young woman's expression and where she is looking. Look closely at her hands and body position, then move your eyes towards the vase and flowers. Follow the change in colour from cool blues to much warmer yellows, oranges and reds. Search among the lower patterns for creatures that are immediately recognisable and others that appear only after longer examination.
The building itself is worth studying too. Look at the windows, pipes and doors cutting through the mural. Consider how the artists have dealt with these interruptions and whether they make the work feel less like a framed picture and more like part of the architecture.
Now consider movement. Which parts of the mural feel still, and which appear to be moving? Does the lower world seem to remain beneath the young woman, or does it appear to be entering her space? What do you think has happened immediately before the moment shown on the wall?
There does not need to be one correct answer. At this stage, we are practising observation. Later we can compare what we noticed with what the artists intended and then decide whether that additional information changes the way we understand the artwork. Throughout Street Art Explorers, we will try to keep three things separate: what we can observe, what reliable sources tell us about the artist's intention, and what we personally interpret. Good art can allow all three to exist at once.
What Does A Rising Tide Mean?
More Than Rising Water
The title provides the first clue. A rising tide is a real physical event, but the idea of rising water has particular significance in discussions about climate change because warming oceans and melting land ice contribute to rising global sea levels. [11]
The mural, however, uses rising water in another way as well. In the artists' description of the work, reproduced by Local Sauce Tours from Inner West Council material, the central figure is a young student reacting to an approaching flood while also struggling with housing and rental pressures. In that explanation, the familiar expression of trying to keep your head above water becomes part of the artwork's meaning. The young woman is facing water physically, but she is also experiencing the kind of social and financial pressure that the expression describes metaphorically. [5]
This gives the title two connected meanings. The tide around her is rising, while the pressures affecting her life are rising too. A separate published account of the work also describes the mural as addressing climate change and increasing land prices and reports that the concept was developed with people connected with the building, identified as Deb and Paul. [6, 15]
The mural therefore joins a global environmental problem with a local urban concern. It does not suggest that climate change and housing affordability are the same problem or have the same causes. Instead, it shows what it can feel like when several large pressures affect a person's life at the same time.
That is a much more human way to approach complicated subjects. Climate change can be represented through graphs, temperatures and sea-level measurements, while housing affordability can be discussed through rents, property values and vacancy rates. A Rising Tide takes those large issues and asks what they might feel like from the perspective of one young person.
Keeping Your Head Above Water
The expression keeping your head above water usually has very little to do with swimming. We use it when somebody is managing to continue through a difficult situation without becoming completely overwhelmed. A person might describe themselves as keeping their head above water financially or while dealing with too many responsibilities at once.
A Rising Tide turns that familiar expression into a visual idea. The young woman appears to face an actual flood, while the artists' explanation also connects her situation with the difficulty of managing housing and rental pressure. One phrase can therefore describe two things happening in the same artwork.
Metaphor allows artists and writers to communicate ideas without explaining everything literally. Instead of painting a sign about housing costs beside another sign about climate change, the artists created a situation in which viewers can experience both ideas through the same image. Once we recognise that metaphor, the title becomes much more important. A Rising Tide is not simply describing the water painted on the wall. It is describing the pressure at the centre of the story.
The Fallen Vase
One comparatively small detail makes the mural more complicated. As the young woman reacts to the incoming water, the vase beside her is disturbed. In the artists' description, this moment asks us to think about the effects our actions can have on nature, including consequences we did not deliberately intend. [5]
That introduces a useful environmental idea. People do not always begin with the intention of damaging the natural world. Decisions about transport, energy, development, manufacturing, food, consumption and land use are usually made for many other reasons. Environmental effects can nevertheless emerge from those choices, particularly when the actions of millions of people accumulate over time.
The vase reduces an enormous idea to an ordinary moment. Somebody moves suddenly, something is knocked over and there is a consequence. The result may be accidental, but it is still real. This makes the mural more interesting than a simple warning about climate change. It invites viewers to think about relationships between cause, effect and responsibility without pretending that those relationships are always straightforward.
Meet the Artists
Ox King — Steven Nuttall
Ox King is the professional name used by UK-born, Sydney-based artist Steven Nuttall. His official artist CV records a practice spanning studio exhibitions, illustration, live art and public work over many years and documents his studies at Sydney College of the Arts. Independent museum material also describes him as holding a Bachelor of Fine Arts (Honours) and working between illustration, studio painting and large-scale murals. [8, 9]
His mural work often centres on recognisable figures placed inside worlds that are less predictable. Human faces and bodies can be combined with highly saturated colours, unusual natural forms, strange creatures or imagery that moves between playful and unsettling. A viewer may therefore enter the artwork through something familiar before discovering that the surrounding environment is considerably more complicated.
That quality is well suited to A Rising Tide. The young woman's face allows us to understand the emotional situation immediately. Even without knowing the mural's title or intended meaning, we can recognise that something has caught her attention and that she appears concerned by it.
Her presence also brings human scale to the subjects the mural explores. Climate change and housing pressure can both become abstract when they are discussed only through numbers. The figure on this wall reminds us that large economic and environmental changes are ultimately experienced by people.
Phibs — Tim de Haan
Tim de Haan, better known as Phibs, is an Australian artist whose career developed from graffiti and street-art culture into mural painting, exhibitions and major public commissions. His official biography records that he is originally from Sydney, moved to Melbourne in 2001 and became part of the Everfresh Studio collective before later returning to Sydney. [7]
His work is particularly recognisable for its dense organic imagery. Animals, plants, mythical forms and invented creatures frequently appear within networks of curved lines, repeated patterns and highly detailed shapes. Rather than separating individual objects cleanly from their surroundings, his compositions often allow one form to flow into another. [7]
That visual language gives the lower section of A Rising Tide its extraordinary energy. The underwater world is not represented simply by painting a blue area and adding a few fish. Instead, creatures and patterns seem to merge into a larger living system.
This is particularly effective beside Ox King's central figure. Her form is immediately readable and human, while the environment below her appears more difficult to contain. The contrast helps create the impression that she is facing something larger and more complex than herself.
What Happens When Two Styles Meet?
Collaborative art creates a challenge that somebody working alone does not have to solve. Two artists need to decide how their individual visual languages can contribute to one finished work.
A Rising Tide does not solve this by making both artists paint in exactly the same manner. Their contributions remain visually different, but those differences are useful. The figurative section provides the person through whom we experience the story, while the organic section creates the unstable environment moving towards her.
The work therefore provides a useful example of collaboration without uniformity. Working successfully together does not always mean making individual contributions impossible to distinguish. It can mean allowing different strengths to perform different jobs within the same idea.
Why Newtown?
The Place Around the Painting
A Rising Tide was not simply painted somewhere in Sydney. It was painted in Newtown, in Sydney's Inner West, and its location contributes to the way the work can be understood.
King Street forms one of the major routes through the suburb. Around it is a dense mixture of shops, restaurants, bars, theatres, music venues, services and residential streets. Newtown Station sits only a short walk from the mural, while nearby Enmore Road extends towards neighbouring Enmore.
The area also has a strong relationship with street art and other forms of creative expression. Murals are not confined to one organised precinct but appear throughout ordinary streets and lanes. Some are officially commissioned, others come from different street-art and graffiti traditions, and the collection changes as walls are repainted and new works appear.
The housing theme also has a recognisable local context. At the 2021 Census, 57.6 per cent of occupied private dwellings in Newtown were rented, compared with 32.6 per cent across New South Wales. That does not make the mural an economic report, but it helps explain why a story involving a young renter could resonate strongly in this neighbourhood. [10]
Street art is often most interesting when its location is not interchangeable. The wall, neighbourhood and story become connected.
Perfect Match
Matching Artists With Places
A Rising Tide was created through Inner West Council's Perfect Match program. Council records the mural in its archive of works produced through the program and included it among the art associated with EDGE Newtown in 2019. [1, 2]
Perfect Match began in 2014 as an initiative responding to unwanted tagging and graffiti and has developed into Inner West Council's flagship public-art program. Current Council material states that more than 170 artworks have been funded through the program. Artists apply for commissions, property owners nominate public-facing walls and Council facilitates the match and development process. [4]
The program's aims extend beyond making blank walls more colourful. Council identifies objectives including the creation of site-specific work, support for artists and the creative economy, stronger relationships between artists and communities, reduction of illegal graffiti and the attraction of visitors to the Inner West. [4]
This is an important part of understanding A Rising Tide. The mural was not an image created somewhere else and then randomly enlarged onto an available wall. A published account of the mural reports that the concept was developed with people connected with the building, identified as Deb and Paul, linking the site and its community with the final artwork. [15]
The result also raises useful questions about public space. A privately owned building can have a wall that faces thousands of people using a public street. The artwork belongs physically to the property, yet it becomes part of the visual experience of the neighbourhood. Who, then, should influence what appears there: the owner of the wall, the artist, the council, nearby residents or the wider community? Commissioned public art brings all of those interests into the same conversation.
Street Art, Graffiti and Public Art
What Should We Call It?
Street Art Explorers will repeatedly encounter works that do not fit comfortably into one simple category. A Rising Tide was painted with permission through a council-supported commissioning program, so it can accurately be described as commissioned public art. At the same time, it was created by artists whose practices are connected with mural and street-art culture, and it exists on a building facing an ordinary city street. [1, 3, 7, 9]
That is different from unauthorised graffiti, but it does not mean the traditions are completely unrelated. Australian street art has roots in graffiti subculture, while contemporary street art now includes an enormous range of practices, from small unsanctioned works to large murals commissioned by councils, businesses and festivals. [16]
The street remains an important part of the experience. There is no museum entrance or admission fee at A Rising Tide. People encounter it while walking to the railway station, going to a shop, visiting a nearby business or simply passing down Holt Street.
Rather than forcing every artwork into one permanent definition, we can use these differences to ask better questions. Does permission determine whether something is street art? Does scale matter? Does the artist's background matter? Does the location matter more than the commissioning process? The answer may change from one artwork to another.
Navigate With Geo
The Mission
Street Art Explorers uses art as a destination for practising real navigation. The aim is not simply to type a coordinate into a device and follow a dot until we arrive. Instead, we want to understand how the destination fits within the city around it.
For A Rising Tide, we are going to move through several levels of location. We begin with Sydney, narrow our search to Newtown, find a major transport landmark, identify King Street and Holt Street, locate the correct property and finally identify the wall on which the mural appears. By the time we reach the coordinate, we should already have begun creating a mental map of the neighbourhood.
NAVIGATE WITH GEO
Use the interactive map as your starting point. Zoom out to see where Newtown sits within Sydney, then zoom in to find King Street, Holt Street and the mural site.
How to Navigate This Place
Mural Site
151.177794° E
Newtown NSW 2042, Australia
Step 1: Orient Yourself in Sydney
Open Google Earth or Google Maps and search for Sydney, Australia, but do not immediately zoom into the mural. Start far enough out to recognise the coastline and Sydney Harbour. Find the central city and notice how the urban area spreads away from it. Now locate Newtown and examine where it sits in relation to the CBD.
This process is called orientation. Before locating one precise point, we first understand the larger area that contains it. Good navigators continually move between these different scales. If we jump immediately to an exact pin, we may know where the destination is on the screen without understanding where we are in the city.
Step 2: Find a Strong Landmark
Now locate Newtown Station. Transport infrastructure is extremely useful for navigation because railway lines and stations are easy to identify on many types of maps. They can also serve as physical landmarks when we reach the area.
From the station, locate King Street. [Tip: King Street turns into Princes Highway when heading south, if that is easier to find]. Notice how the main street differs from the much smaller surrounding roads and look at the angle at which the railway crosses the neighbourhood. The useful fact here is not an exact walking distance. It is that Newtown Station provides a strong nearby navigation anchor from which we can begin narrowing our search.
Step 3: Find the Address
Search for 407–409 King Street, Newtown NSW 2042. This will locate the property associated with A Rising Tide. [1]
Finding the correct address, however, does not necessarily mean we have found the artwork. Buildings can have several walls, entrances and street frontages. A postal address might lead us to the correct property while leaving us standing where the mural cannot be seen. That is exactly why the next step matters.
Step 4: Find the Artwork
Look for Holt Street. A Rising Tide covers the large side wall of the King Street property facing Holt Street. When The Geo Kid returned in August 2026, this was where we again found and filmed the mural.
This allows us to move to a finer level of geographical precision. We have progressed from suburb to street, from street to property and finally from property to the correct side of the building. A useful way to remember the process is city → suburb → landmark → street → property → artwork. Each stage answers a slightly more precise version of the question: Where is it?
Step 5: Read the Coordinates
The working Street Art Explorers coordinate for the mural site is 33.900080° S, 151.177794° E. In decimal notation, the same location can be written -33.900080, 151.177794. [13, 14]
Two independent mapping records for 407 King Street place the property at almost exactly the same point, and The Geo Kid's August 2026 site visit independently confirms that the mural remains on the Holt Street side of this property. These coordinates should therefore be understood as the practical mural-site coordinate rather than a survey-grade measurement of one point on the painted surface. [13, 14]
Latitude tells us how far north or south a place is from the Equator. The 33.900080° S tells us the mural lies south of the Equator, as we would expect for Sydney. Longitude measures east or west from the Prime Meridian. 151.177794° E places the site east of that reference line.
Coordinates are powerful because they form a global system. Street names and address formats vary from country to country, but latitude and longitude can identify places anywhere on Earth using the same geographic framework.
Step 6: Verify the Location
Good navigation does not depend blindly on one piece of information. Once you have found A Rising Tide, try locating it again in another way. If you began with the coordinates, return to Sydney and work towards the mural through Newtown Station, King Street and Holt Street. If you began with the address, enter the latitude and longitude and see whether they return you to the same property.
If satellite imagery is available, examine the shape of the building and surrounding street network. Identify the railway line, King Street and Holt Street without relying on a destination marker. This process is called verification. We are checking one form of location information against another.
Digital maps are extraordinarily useful, but they can still contain outdated imagery, misplaced business pins or address markers positioned in the centre of a property rather than exactly where somebody needs to stand. Verification helps us become active navigators instead of passive followers of a screen.
Step 7: Build a Mental Map
Now remove the mural pin. Starting with Newtown, see whether you can find the location again using only what you have learned. Locate Newtown Station, identify King Street, follow the street towards Holt Street and work out which side of the corner property contains the large wall.
If you can do this, you have started to build a mental map. A mental map is the internal picture we create of the relationships between places. It includes landmarks, streets, directions, distances and the order in which we expect to encounter features.
This is one reason navigation practice matters even when we carry phones capable of giving us turn-by-turn instructions. A device can tell us what turn to make next. Understanding the landscape tells us why that turn makes sense.
The Geo Navigation Challenge
Once you have found A Rising Tide, try working backwards. Imagine somebody has asked you how to find the mural but you are not allowed to give them the street address or coordinates. What landmarks and geographical clues would you choose?
You might tell them to begin at Newtown Station, identify King Street and look for Holt Street. Another person might notice the railway line first, while somebody else may use the shape of the intersection or surrounding buildings. There can be several successful ways to navigate to the same place. The important skill is being able to explain the relationship between the clues.
Explore the Area
Let the Artwork Become the Starting Point
Finding A Rising Tide does not have to end the expedition. Newtown and nearby Enmore contain many other murals and smaller pieces of street art. Some have existed for years, while others may appear and disappear rapidly. This makes the neighbourhood an ideal place to practise moving between one location and another.
Choose a second mural nearby and find its location on the map. Before requesting turn-by-turn directions, examine the street network yourself. Estimate which direction you will need to travel, identify one or two useful landmarks and decide which route appears most logical.
You can then compare your route with the one suggested by the mapping platform. Repeating this process turns street-art exploration into practical geography. The artwork provides the motivation to keep moving, while the city provides the navigation lesson.
A City Never Stands Still
When the Map Is Right but the Mural Has Changed
Street art teaches us something particularly useful about maps: a location can remain correct even when what we find there changes. The coordinates of 407–409 King Street can stay effectively the same for years, but the businesses inside the property may change. Shop signs can disappear. Buildings can be renovated. A wall can be repainted and a mural can fade, be restored, altered or replaced.
Historical records demonstrate change around this corner. A State Library of New South Wales photograph from 2012–2013 looks from King Street down Holt Street beside the King Street properties, showing the side-wall area before A Rising Tide existed. Years later, the same streetscape became the setting for the large public artwork. [12]
The Geo Kid photographed the mural in September 2025 and returned in August 2026 to find it still there. That gives us two first-hand records separated by almost a year. Inner West Council's archive also continues to list the artwork at this address. [1]
None of this means the mural will remain forever. If a future Street Art Explorer reaches these coordinates and finds that the wall looks different, the navigation may still have been completely successful. What has changed is not necessarily the map. The place itself has changed. That is geographical information too.
What Can One Wall Teach Us?
We began with a mural on the side of a building in Newtown, but following its story has taken us much further. We discovered two artists whose different visual languages were brought together in a single composition. We learned about a council program that connects artists, property owners and communities. We encountered a young person caught between environmental and housing pressures, and found a small overturned vase that introduces a larger question about human actions and unintended consequences.
We also learned how to locate the mural properly. Instead of treating the address as the answer, we began with Sydney, oriented ourselves within the city, found Newtown, used the railway station as a landmark, identified King Street and Holt Street, narrowed the destination to the correct wall and finally verified the location using latitude and longitude.
The art gave us a reason to navigate. Navigation helped us understand the place around the art. This is the idea at the heart of Street Art Explorers. We are not simply collecting murals or marking destinations on a map. We are using public art to become more observant travellers, more confident navigators and more curious readers of the places around us.
Bring the Conversation Home
After exploring A Rising Tide, return to what you first noticed in the artwork. Did you immediately see a flood, or did something else attract your attention? Did learning about the housing and rental theme change your interpretation of the young woman's expression? Consider why the artists might have chosen to bring environmental change and housing pressure together instead of creating two separate murals.
The vase offers another discussion. If an action has an unintended consequence, does the fact that it was accidental change our responsibility for what happens next? Can you think of examples in everyday life where a decision made for one reason produces a completely different effect somewhere else?
The mural's status as commissioned public art raises questions too. Does an authorised mural still feel like street art to you? Who should have a say in what appears on a large wall visible from a public street? Would your answer be different if the artwork were temporary?
Finally, think again about the navigation exercise. Which information helped you understand the location most clearly: the coordinates, the station, the street names, the address or the shape of the building? Could you use the same process to locate a mural, monument, historic building or other landmark somewhere in your own community?
There is no requirement for everybody in the family to reach the same conclusion. The important part is being able to observe carefully, distinguish evidence from interpretation and explain how you reached your view. Those are useful skills when looking at art, navigating a city and learning about the wider world.
Discover the Story Behind the Design
Street Art Explorers grew from The Geo Kid's belief that the things we encounter while travelling can become starting points for much larger discoveries. A Rising Tide does exactly that. A Newtown wall leads us into the work of two Australian artists, the changing character of an inner-city neighbourhood, questions about public art, climate change and housing pressure, and the practical geography involved in finding one precise location within a city.
The Geo Kid first documented the mural in September 2025 and returned in August 2026 as this article was being developed. Standing in front of the artwork again reinforced something that maps alone cannot show us: places are lived environments, and returning to them can reveal what has remained and what has changed.
The original mural is the work of Ox King and Phibs and, as a 2019 artistic work, remains protected by copyright. This does not determine who owns or controls commercial licensing for the commissioned mural; that remains part of our separate artwork and intellectual-property clearance process. Any corresponding Geo Kid product inspired by the location will not be linked from this article unless that process is satisfactorily resolved. [17]
For now, the original work is exactly where this story should begin. Finding the artwork, looking closely and understanding where it sits in the city allows one piece of public art to open a much wider exploration.
References
- [1] Inner West Council — Perfect Match Artwork Gallery 2017–2022 Artwork title, artists, year, address and Perfect Match identification. Source
- [2] Inner West Council — EDGE Newtown 2019 and official event map Contemporary 2019 confirmation of A Rising Tide / Phibs & Ox King and the 407–409 King Street site. Source
- [3] Inner West Council — Perfect Match Street Art program Program purpose, commissioning/matching model and community involvement. Source
- [4] Inner West Council — Perfect Match Street Art 2025–2026 Guidelines for Artists Program history, 2014 commencement, current scale, process and aims. Source
- [5] Local Sauce Tours — “Yeah The Girls” Street Art Self-Guided Walk Artist-attributed concept statement: student, flood, housing/rental crisis, metaphor and fallen vase. Source
- [6] Art Out — Holt Street (East) Art, Newtown Reported November 2019 completion and corroboration of climate-change / land-price themes. Source
- [7] Phibs — Official Biography Artist biography, graffiti background, Everfresh Studio history and organic/nature influences. Source
- [8] Ox King — Steven Nuttall Official CV Career record and Sydney College of the Arts study. Source
- [9] Hellenic Museum — Ox King / Memento Mori Independent biography: UK-born, Sydney-based; BFA (Honours); studio and mural practice. Source
- [10] Australian Bureau of Statistics — 2021 Census QuickStats, Newtown NSW Rental tenure: 57.6% of occupied private dwellings rented; NSW 32.6%. Source
- [11] CSIRO — sea-level science Scientific context for sea-level rise from ocean warming and melting land-based ice. Source
- [12] State Library of New South Wales — John Immig photographic survey 2012–2013 records of 407 and 409 King Street before the mural existed. Source
- [13] Concrete Playground — 407 King Street location record Independent practical coordinate cross-check for the mural property. Source
- [14] Apple Maps — 407 King Street / Earl’s Juke Joint place record Second independent practical coordinate cross-check for the property. Source
- [15] Supertravelr — A Street Art Tour of Newtown With Its Local Artists Published account of climate/land-price themes and concept development with Deb and Paul. Source
- [16] National Gallery of Australia — Space Invaders Institutional context for the relationship between Australian street art and graffiti culture. Source
- [17] Copyright Act 1968 (Cth), current compilation General legal basis for copyright subsistence and duration in artistic works. Source