Series edition of 20. Own or give a gift of a print that is part of an exclusive collection of not more than 20 printed worldwide. Each print will be numbered and signed by the artist.


art ships without frames


In this series Dobson revisits his former home, Hong Kong, after a 20 year absence. Neonopolis is for him is about joining dots. Or more appropriately for the narrative of this series, he says it is all about joining nodes. Thought nodes. In essence he regards this series as a highly personal body of work, given his relationship with Hong Kong goes back for almost 3 decades. The nodes represent to him a convergence of a 3-tier thought stream; 1) his memories of HK from 30 years ago. 2) his contemporary impressions of Hong Kong today and how he interprets them? 3) he asks the question, “is Hong Kong a vision of the future?”

Twenty years after the handover from British to Chinese rule, twenty years after Dobson left, the city once again enraptures him, and just as the notorious walled city of Kowloon inspired the bleak, neon- soaked, perpetually dank and rain-soaked dystopia of Blade Runner, so does its sequel now cede to the alternate reality of Neonopolis – a realm strangely futuristic all the while rooted in the present.

Taking the basic principles of street photography, that is capture reality as it happens, Dobson’s work is social commentary. However, he presents this commentary in an alluring way, by creating images that warp reality stylistically into something akin to neo noir cinema. He purposely chases down scenes and locations that allow him to build upon his already preconceived quasi fictional narrative. Embedded within this narrative he explores themes such as; lack of privacy, the rate race personified, addiction to smart phone use and consumption of social media trivia, high rise living, cyber espionage, disconnect from reality.

“Through a glass darkly, I hold up a mirror to the twisted skeins of stories being played out on the seething streets. Welcome to Neonopolis.”