Doble takes his cue from the scientific phrase ‘Einstein’s gravity’, which describes how massive celestial bodies warp the fabric of spacetime, bending and shaping paths across the cosmos. Similarly, his visual lattices constrain the energetic momentum flowing beneath. In each painting a gestural, figurative reference point has been overlaid by a subsequent dense network of vivid grids – plaid-like vectors – in a chromatic interference pattern. The surfaces of the pictures operate as high-res scanning interfaces, filtering fragments of organic residue through the sophisticated, containing parameters.

The paintings follow the legacy of minimal and geometric abstraction. Yet, unlike the austere restraint of their historical predecessors, they depend on a kind of sensory overload. Layer upon layer of intersecting, translucent chromatic lines trap and partly obscure the expressionistic underpaintings.

This tension between structural restraint and visceral commotion evokes the socio-spatial elements in the writing of J.G. Ballard. Much like Ballard’s clinical dissections of concrete architectures and automobile technologies, and their effects on the human psyche, Doble’s compositions examine how contemporary subject matter is mediated within cool, imposed infrastructures. The striated grids act as implacable buffers – extensive frameworks designed to organise and control the figurative undercurrents floating beneath. As observers of the paintings, we look through this technological screen, estranged from the natural forms beneath by the omnipresent digital mesh that simultaneously constrains and distorts reality.

Doble’s hyper-saturated palette and hyper-rhythmic pulses throb with energy. He masterfully orchestrates his chromatic collisions in a highly labour-intensive working method. The intense, overlapping stripes – in acid yellow, hot cyclamen, ice blue, vivid violet and sometimes deep, industrial black – painstakingly build a visual theme in which technological acceleration overtakes and holds the spontaneous ‘subject’ below.

This tension between the ordered, rational grid and the restless, turbulent figurative depths below creates a sophisticated push-and-pull effect, and each painting has surprising pictorial depth in which we sink upon further scrutiny. Doble states that “my grids should hover over the euphoric moments of existence”.

Doble’s canvases present a contemporary schism of perception – in his own words: “Warping of space, time, light and energy to blend in a gravitational field”. The paintings ultimately take on the cool intellectualism of mid-century minimalism and transform it into an exciting modern tapestry of visual interference and deep emotional resonance – mirroring how ‘Einstein’s gravity’ governs the universe by binding mass, space and time into a single, cohesive geometry.