When King lived in Paris and Italy during the 1960's, he was a plein-air painter, working outdoors in order to study and describe the effects of light and atmosphere like the Barbizon School and Impressionist painters before him. He moved to the United States in 1968 and made the shift to working almost exclusively in the studio. For subjects he knows intimately, like Paris street scenes, King draws from memory.
For sporting subjects, on the other hand, the camera is an indispensable tool. He takes several photographs of a subject, condensing various views or themes into one composition. Small pencil sketches noting color and compositional motifs act as reminders of feelings and responses to events and vistas King admires. From these two sources, King produces preliminary drawings in gouache, devising structural and visual solutions for larger canvases, which he executes primarily in acrylic.
King consciously handles gouaches like watercolor, blocking out the backgrounds of his drawings with thin washes, preferring thicker impasto for surface treatment. Several canvases are in process at once. King manipulates a palette knife ninety percent of the time, only using a brush for small details. He moves freely from one subject and medium to another, gaining energy as he tackles the physical and mental demands of each composition.
King has carefully studied the old and modern masters from Cimabue and Massacio to Goya, Turner, Degas, and Bonnard. Fascinated with painting techniques, King meticulously layers colors, glazes and shapes as substrate to the five or ten percent of the acrylic paint that floats on top and forms the finished composition. The underpainting filters through to the surface creating depth and texture. Because of his alla prima approach, in which a painting is realized in a burst of inspiration, and single application of pigments, King relates, "It is not until the last ten to fifteen minutes before completion that I am able to see where the painting is going and catch the mood of the moment."
King follows in the footsteps of Courbet and the Impressionists, painting what he sees, such as the familiar streets, monuments and quarters of Paris. King never fully defines the elusive faces and figures, which he often shows from behind, as if they too were silent observers like himself.
Passionate about horses since his youth, King's animated depictions of polo and the fox hunt derive from personal experience. His interest in big game dates from India where elephants and camels roam the streets and tigers and other large cats can easily be seen in their natural habitat. In addition to King's fascination with the fauna of Central Asia, he has also retained a keen fascination for the flora of the region as well as botany in general, which he incorporates into his compositions. Since his arrival in the United States, King became more interested in sports and capitalized on the drama and visual spectacle of ice hockey and horse racing, as well as his love of the out-of-doors by treating subjects like yacht racing, golf and tennis from a seascape or landscape point of view.
Like the Impressionists, King uses his eye as a passive organ
confronting the visual field. Objective and detached, he considers
himself as "unobserved observer".