I studied architecture in Oxford before taking a degree in Art and History of Art at Reading University. I then took a diploma in Ecology and Conservation at London University before working on various nature conservation projects in London for a number of years. My work is often informed by my interest in science and natural history. Having been a painter for some time it has recently developed more towards installation, the moving image and use of sound.  

I often refer back to McLuhan as a starting point. Our vision is now modulated by the micro and macro, our familiarity with digital and virtual space. My process begins to deny the essentially analog nature of painting, suggesting the possibility of digitalisation as an integral subject. But painting occurs in time, implying the memory of geological time, erosion revealing the patterns of stratification. If the original motivation was to somehow bridge the gap between art and science, perhaps with the use of simple systems to generate art  or references to images in science and technology, it seems now less necessary as science, whether real, pseudo or fictional, develops a narrative more integral in everyday life.  Even with an ongoing need  to connect with nature, it would seem with the technological means of creating and manipulating images, we have become distanced form their source - what might be called verfremdung. This has habitually been the effect of art but now that space is more describable in technological terms. Practice is cyclic, we revisit earlier themes, in my case the tension between 2 and 3 dimensions. And in view of McLuhan's views on acoustic space with the introduction of the use of sound.   

"The Gutenberg Galaxy develops a mosaic or field approach to its problems...the galaxy is a mosaic of perpetually interacting forms that have undergone kaleidoscopic transformation." (The Gutenberg Galaxy, The Making of Typographic Man, Marshall McLuhan, 1962)

"Acoustic space is dynamic; it has no fixed boundaries. It is space created by the method or process itself. (McLuhan and Powers 1989) [15] (p. 74)

 Selected Exhibitions:

2020: Anima Mundi for the Mdina Cathedral Contemporary Art Biennale; Regaining a Paradise Lost, The Role of the Arts I 2019  Sequences, The Agency Gallery, London I Light On LIght Through, Seitenblick Gallery, Bremen  Li 2017: We Are Stardust, We Are Carbon, Testbed1, London Bridge I Surface Explorers, St Luke’s Church, London I 2016: The Golden Seed, Cheongju Arts Centre, S. Korea, Jikji Biennale 2015: What is Done Cannot Be Undone, OVADA, Oxford I Dialectical Materialism, Moor House, London I A Man Alone, The Globe, Hay-on-Wye I 2014: Portico Gallery, London I The Shed, Lauriston School, London (combined with project with school) (solo) I 2013: Lines/Linien, Kunsthaus Dresden, Stadtische Galerie fur Gegenwartskunst, Dresden, Germany I Brewster’s House, Testbed1, Battersea, London I Book of Nature, for Our Autonomous Nature II, Testbed1, Battersea, London  Trajector Intermezzo, Hotel Bloom, Brussels, Belgium 2012: Market Forces, Studio 73, London I A Few Friends 2, Testbed1, Battersea, London, curated by Will Alsop Let It Bleed, Artists’ Duvet Covers, Hotel Bloom, Brussels, Belgium Art und Weisse, Nicole Tolle Gallery, Rehetobel, Switzerland I Sitterwerk Foundation, St Gallen, Switzerland (residency exhibition) I Our Autonomous Nature 1, Naturally Linked In, curated by Chloe Tinsley for Chelsea Fringe I 2011: A Few Friends 1, Testbed1, Battersea, London, curated by Will Alsop for London Design Festival I 2010: A Fusion of Art and Science, London I Kofferkunst, Galerie Gruppe Grun, Bremen, Germany (solo) I 100 hours, Plus Art Projects, White Cube Art, Britannia House, London I 2008: ’00 Nature, Contemporary Art Projects, London I Foster Art Summer Show, London I 2004: Art Bond, London (solo) I 2002: Brixton Open, Bettie Morton Gallery, London I 2001: Groucho Club, London (solo) I 2000: One Foot Two, Mafuji Gallery, London I Discerning Eye, Mall Galleries, London I Clapham Art Gallery, London (solo) 1999: Discerning Eye, Mall Galleries, London Royal Academy Summer Exhibition, London  1998: Diana Moon Gallery, London (solo) I 1997: Discerning Eye, Mall Galleries, London I Art and Language, Logos Gallery, London (solo) I Blue Funk, Levi Gallery, London I 1994: Discerning Eye, Mall Galleries, London I 1993: Dagmar Gallery, London. 

Press etc.:

https://www.independent.com.mt/articles/2020-03-24/newspaper-lifestyleculture/The-best-ever-Mdina-Biennale-launch-that-never-was-6736221215

 

 

The Malta Independent on Sunday:   https://cfca695f-d8a0-41c2-b2d6-70d7fa80e2a3.filesusr.com/ugd/6a920f_bd398023e76a4df0ac5399f8c0d127be.pdf

 

https://aestheticamagazine.com/done-cannot-undone-warrior-studios-ovada/

 

https://www.artlyst.com/reviews/warrior-artists-at-ovada-paul-black-reviews-the-collectives-latest-work/

 

http://kurtschwitterstoday.org/research.html#essays - Essay in May 2016 issue, PDF available

 

http://www.fiveyears.org.uk/archive2/pages/248/Being_Together_Is%20Not_Enough/participants/38/38.html

 

 

http://www.fiveyears.org.uk/archive2/pages/220/FYP7/PhilDobson_JohnHughes/PD_JH.html

 

http://www.fiveyears.org.uk/archive2/pages/268/Being_Together_Draft/268.1.html

 

https://www.iskaiart.com/portfolios/jik-ji-the-golden-seed/

 

https://www.iskaiart.com/news/a-new-way-of-viewing-jikji-jikji-the-golden-seed/

 

https://carocommunications.com/jikji-golden-seed-exhibition-cheongju-south-korea-1-8-september-2016/

 

Jikji, The Golden Seed Exhibition

Catalogue, published by Sung Hun Lee, Mayor of Cheongju City, Publisher, Jikji Korea Organising Committee 

 

APS Mdina Cathedral Contemporary Art Biennale 2020, Regaining a Paradise Lost: The Role of the Arts, Edited by Giuseppe Schembri Bonaci and Nikki Petroni; ISBN 978-9918-20-015-3; 

 

Wall Street International: https://wsimag.com/art/14790-dialectical-materialism

 

https://www.sitterwerk.ch/De/Artist/74/Phil_Dobson

 

https://warriorstudios.org/Warrior-Press

https://www.sitterwerk.ch/De/Artist/74/Phil_Dobson

Practice is cyclic, you return to earlier themes, in key case to the tension between 2 and 3 dimensions. This has subsequently led to using sound in view of McLuhan’s ideas about acoustic space. perspective etc…   

I often refer back to McLuhan as a starting point. Our vision is now modulated by the micro and macro, our familiarity with digital and virtual space. My process begins to deny the essentially analog nature of painting, suggesting the possibility of digitalisation as an integral subject. But painting occurs in time, implying the memory of geological time, erosion revealing the patterns of stratification.

 

If the original motivation was to somehow bridge a perceived gap between art and science, perhaps with the use of simple systems to generate art or references to images in science and technology, seems now less necessary as science, wether real, pseudo or fictional, develops a narrative more integrated in everyday life.

his has habitually become the effect of art, but now that space is more describable in technological terms.

 

Practice is cyclic, you return to earlier themes, in key case to the tension between 2 and 3 dimensions. This has subsequently led to using sound in view of McLuhan’s ideas about acoustic space. perspective etc…   

Acoustic space is dynamic; it has no fixed boundaries. It is space created by the method or process itself.

 

(McLuhan and Powers 1989) [15] (p. 74)”.