Artist Statement

 Darren Doye grew up in Bendigo, Victoria. Influenced by Americans Robert Rauschenberg, Andy Warhol and Robert Motherwell, as well as Australian greats Arthur Boyd and Sydney Nolan, Darren took up painting after a childhood love of drawing. He studied Fine Art at Ballarat University and some years later completed a Diploma of Education. His work is represented in corporate and private collections around the world.

Darren’s paintings combine woodcut prints and traditional oil painting techniques. Woodcuts are the earliest known form of Printmaking. It is a time consuming process where an image is carved into a wooden plate in reverse, to ensure the image is correctly orientated after printing. Most of the paintings are crafted on canvas, another traditional methodology. Darren then manipulates the paint surface using palette knives and brushes to create a variety of textures and points of interest for the viewer.

The Urban Walls

Darren has a keen interest in the Australian landscape and way of life. Through combining well known Melbourne icons such as the Nylex Clock or the Skipping Girl Vinegar sign Darren invites the viewer on a journey of recognisable landmarks. He encourages the viewer to read and personalise the narrative, playing on our connection to places and spaces evoking feelings of nostalgia. Darren often places the urban landmarks within rural landscapes, which pays homage to the Artist's country roots. The inclusion of grass-covered paddocks also alludes to the impact of the continuing urban sprawl upon the surrounding countryside and rural communities.

The Vans, Bikes and Cars

In some of the works Darren has included iconic vehicles adorned in the Melbourne Prints. Kombi vans, originally from Germany, have become a part of Aussie culture. The iconic vehicles can be seen on the roads all over Australia as people use them for travelling and camping. They have a big connection to the surf culture, which is a major influence on Australia’s identity. The Vespa, Citroen, Mini Cooper and the Double Decker Bus are all imports that have adapted their identity since arriving in Australia.


These cars, bikes, vans and buses are often stacked in precarious compositions poised as if ready to collapse. Here the artist is reflecting on the interdependent and often perilous nature of the modern political and financial world.