Robert Doble | The Exhibitions
I am a big fan of celebrated artist, Robert Doble’s works.
Robert Doble articulates life’s joy and pain with an emotional precision that bares the wonderment and scars from a heightened consciousness.
Doble’s artistry is a Morse Code of emotions; a boisterous expression of personal experiences, a hallucination of beauty and a powerful abstraction of circumstance.
Influences from a life well travelled and lived add to the gestural abstraction of a talent that hums with a restlessness that urgently awaits expression.
Born in U.K., Robert Doble studied at the Chelsea School of Art, London and arriving in Australia in 1990, he continued with his works culminating in approximately twenty exhibitions to date and numerous projects.
In 2006 he won the Ergon Energy Central Queensland Art Award and was a finalist in the 55th Blake Prize for Religious Art and the Williamstown Tattersalls Art Prize.
In 2008 he was asked by Hermes to paint their infamous life-size “in-store horse” as part of the Melbourne Fashion Festival.
Doble is represented in the National Gallery of Victoria with a painting from his Gravity series of 2000, as well as PriceWaterhouseCoopers, Rockhampton Art Gallery, The Botanical Restaurant, and private collections in Australia, Japan, UK, USA, Italy and Spain.
Selected Solo Exhibitions
2016: “Fusion”, Nanda / Hobbs Contemporary, Sydney, NSW.
Read “Fusion” essay by Alex McCulloch | Here
Left: Fusion 2016, gloss enamel on aluminium composite board, 200x150cm Right: Titanium 2016, gloss enamel on aluminium composite board, 200x150cm
2015: “Playing God” (Doble & Strong), Art Equity, Sydney, New South Wales.
Read “Thou Shalt Not Clone” by Ashley Crawford - Here
Playing God (triptych), 2015 Gloss enamel and Iriodin® on chromogenic print Mounted on aluminium composite board 3 panels 178 x 125 cm each
Anunnaki, 2015 Gloss enamel and Iriodin® on chromogenic print Mounted on aluminium composite board 178 x 125 cm
2015: “Recent Paintings”, Scott Livesey Galleries, Armadale, Victoria.
Industry 2015 184 x 184 cm oil, enamel & automotive paint on Belgian linen
2013: “Gravity”, Scott Livesey Galleries, Armadale, Victoria.
“My fascination of grids really took hold when I lived in New York in 2000 where I painted the first of my Gravity series. For me, they are akin to being plugged into a very electric energy field, the jolt of existence with hints of history lurking behind. There is a lifeline that runs throughout the world, the point is about extinction and extension.
-Robert Doble, 2013
Left: Hamlet oil, automotive & gloss paint on Belgian linen, 183 x 152 cm Right: Yasmin oil, gloss paint & Iriodin® on Belgian linen, 183 x 152 cm
2013: “Flesh & Blood” (Doble & Strong), Brenda May Gallery, Waterloo, New South Wales.
Read “Beauty: Interrupted – Disease and Desire” by Ashley Crawford - Here
Top: gallery view.
Left: Cryophyte, 2013, Gloss enamel on chromogenic print mounted on aluminium composite board 89 x 62 cm
Right: Liposome, 2013, Gloss enamel and Iriodin® on chromogenic print mounted on aluminium composite board 124 x 87 cm
2011: “Milk of the Poppy” (Doble & Strong), Block Projects, Cremorne, Victoria.
Read “The Rapture: Doble & Strong” by Ashley Crawford - Here
Left: Choroid Plexus 2011, gloss enamel on chromogenic print mounted on aluminium composite board 178 x 125 cm
Right: Milk of the Poppy 2011, gloss enamel on chromogenic print mounted on aluminium composite board 124 x 87 cm
2010: “First Born” (Doble & Strong), Block Projects, Melbourne, Victoria.
Read “Beauty, Violence, Sex & Death” by Jeremy Kibel - Here
Prosoma 2010, gloss enamel on chromogenic print mounted on aluminium composite board 178 x 125 cm
Progenitus (triptych) 2010, gloss enamel & Iriodin® on chromogenic print mounted on aluminium composite board 3 panels – 178 x 125 cm each
2008: “The Amber Room”, Nellie Castan Gallery, South Yarra, Victoria.
Read “The Amber Room” by Inga Walton - Here
Top: gallery view
Top left: Semiotics 2007-08 Oil, caran d'ache, graphite, gloss enamel, shellac and industrial paint on wood 120 x 120 cm
Top right: Solitary 2007 Oil, graphite, gloss enamel, shellac, industrial paint, automotive enamel and bitumen on wood 120 x 120 cm
Bottom Left: Senescence 2008 Oil, gloss enamel, shellac, oil pastel and industrial paint on wood 120 x 120 cm
Bottom right: Source 2008 oil, industrial paint, bitumen, shellac, Iriodin® 217 and 213 on wood 213 x 240 cm
2007: “New Paintings”, Nellie Castan Gallery, South Yarra, Victoria.
“Robert Doble's new paintings explore symbolism, mythology and folklore. Aglow with gold and silver, these paintings take on a new colour palette.
The introduction of gold references the original Latin 'luculence', meaning bright, shining or glowing. Its form and engagement in this exhibition represents sanctity, ceremony, purity and currency as Doble references his deep respect for both Western and Eastern religious and spiritual foundations. Icons adorn his work; the owl, the horse, the skull, the snake - all part of Doble's visual language telling stories of both the past and present.
Through the combination of Doble's colour and iconography, Doble comments on the current state of politics and religion in the world. A serpent slithers along side a religious icon, a skull is positioned close to an owl. Doble comments on civil and human rights in a world that is governed by leaders pushing their agendas; greed, corruption and human poison rear their ugly heads.”
-Nellie Castan Gallery
Top left and right: gallery view
Top: HONOUR, 2007 incised horse skull & enamel in perspex 28 x 16 x 36 cm
Left: Ucal, 2007 oil, graphite & enamel on plywood 123 x 123 cm Right: Ba’rak II, 2007 oil, enamel & shellac on canvas 91.5 x 91.5 cm
2005: “Licking the Wound”, Nellie Castan Gallery, South Yarra, Victoria.
Top left: Veiled Nation, 2005 oil, gloss enamel and spray paint on canvas 122 x 122 cm Top right: Father, 2005 gloss enamel and charcoal on canvas 213.5 x 152.5 cm
Bottom: Toxic, 2005 oil, gloss enamel and spray paint on empirite MDF 66.5 x 57.5 cm
2004: “Luminosity of Existence”, Michael Carr Art Dealer, Woollahra, New South Wales.
“….Doble's markings are like scars or wounds and are of a visceral nature. Deeply affected by his brush with death in 2002, Doble's last series of paintings explored the emotional impace of his cancer treatment in psychedelic colours. His latest work continues to contemplate mortality and fundamental human emotions, combing bold colour with the more sombre tones and narrative elements of his earlier Totem and Taboo series.
Doble's surfaces are complex and are comprised of many layers: oil, enamel and spray paint. The fluidity of his materials are highlighted in dripping forms and highly textured figures.”
-Nellie Castan Gallery
Left: Pulse VII, 2004 oil on canvas 61 x 51 cm Right: Red God, 2004 oil on canvas 213.5 x 152.5 cm
2003: “Pathology of Surface”, Nellie Castan Gallery, South Yarra, Victoria.
Read “Pathology Of Surface” by Stephen Haley - Here
Cytoxic 2003, gloss enamel on canvas 213 x 213 cm
2000: “Gravity Series”, Nellie Castan Gallery at the Melbourne Art Fair ,
Royal Exhibition Building, Carlton, Victoria.
Read “Warp And Weft” by Dr. Helen Topliss - Here
While in New York, Robert Doble was inspired to develop richly coloured canvases based on its city streets.
“I have mixed colours that have an emergency to them and an urbanisation,” says artist Robert Doble of his latest Gravity Series of paintings. “Like bright electric cables running everyhere, they are about life and the jolt of existence, love, passion, sexuality and the ability to fly. We look down on the world and realise we are all but a speck of dust.”
New York will do that to you, as any visitor knows: giving you the feeling of being really small but still plugging into a powerful energy source. Doble plugged into New York for a frenzied six months, into a city grid overlaid with traffic, noise and visual chaos. Daily, he would sample the mayjem before returning to his TriBeCa studio, to drip and bleed its colours and rigorous layout across his canvases. The tapestry-like paintings, whose loose weave would reveal seemingly solid forms lurking beneath their very painterly surface, allude to the high density of urban life in New York. “There is a lifeline that runs throughout the world,” says the English-born artist, who now lives in Melbourne. “The point is about extinction and extension.”
-In conversation with Annemarie Kiely
Left: Emergency Landscape 2000, oil and signwriter's enamel on linen 213 x 213cm Right: Fuel 2000, oil and signwriter's enamel on linen 213 x 213 cm
1999: “New Paintings”, Nellie Castan Art & Design, South Yarra,
“…The traditions that these primal paintings tap into stem from our unconscious store of memories, memories that are collective and like tribal art are expressed by symbols that are totemic to twentieth century western art. The totems are written over with letters, overriding the imagery. The gestural strokes and signs mask the content and are stretched over the surface like a tight mask….”
-Dr. Helen Topliss
Left: Ze'lek 1999, oil and acrylic on linen 122 x 122 cm Right: Shealtiel - I have asked of God 1999, oil and acrylic on linen 152 x 213 cm
The next post will be a 1 on 1 interview with Robert. Stay tuned
Robert Doble & Simon Strong
Nanda \ Hobbs
Level 1, 66 King Street, Sydney NSW 2000
+61 2 9262 6660
79 Stephenson Street, Cremorne VIC 3121
+61 3 9429 0660