Back from Macau, we caught up with artist Philip Colbert in his studio in East London—a Lobsteropolis all his own. Known for his vibrant, surrealist works that merge pop culture and fine art, Colbert’s journey from fashion to becoming a global art sensation is as dynamic as his creations. In this exclusive interview, he shares insights into his evolving artistic process, the stories behind his works, and his ambitious plans for the future.
Your sculptures have a unique, expressive quality. Can you tell us about the shift in your artistic style, especially with your latest works?
My recent pieces explore a much more expressive and textured vibe compared to my earlier works. For instance, my lobsters, which used to have a clean, toy-like aesthetic, have now taken on a more emotive form. I’ve been playing with disproportionate shapes and textured surfaces—casting elements in bronze to give them a raw, almost historical quality. This new approach allows me to lean into the expressive energy of sculpture while maintaining the playful essence of my lobster universe. It’s about breaking out of strict, stoic forms and introducing a sense of warmth and dynamism to my creations.
When people look at your work, what message or energy do you hope they take away?
I aim to deliver a vibrant, almost “pop-punk” energy through my pieces. The bold use of primary colors creates an immediate, intense impact—a sense of positive intensity that’s both satirical and joyful. My work gravitates around humor, color, and illustrative satire, drawing viewers into a world that feels both playful and dynamic.
Looking back at some of your older works, like your flower series, how do you feel about your journey as an artist? Did you ever imagine you’d come this far?
I think it’s important to stay grounded. Success in art is always relative, and the focus should be on pushing boundaries and creating a world that stands on its own. For me, the idea of building a “pop universe” has always been a driving force. Even now, I feel like I’m just getting started. Each new piece or project brings challenges and opportunities to evolve, and that’s what keeps me inspired.
Did you always dream of becoming an artist, or was there a defining moment that set you on this path?
Art was always my dream, but early on, I didn’t have the confidence to see it as a career. Initially, I worked in fashion, designing sculptural dresses and wearable art. Selling one of my sculptural pieces to an art collector was a pivotal moment. It showed me that there was a way to transition fully into art. Of course, it took time, risk, and a lot of confidence-building. Putting yourself out there is never easy, but embracing failure as a learning process has been crucial.
What’s the biggest challenge when creating large-scale works, like sculptures or paintings?
Time and patience. Larger pieces can take anywhere from three to six months to complete, sometimes longer. It’s easy to overwork a painting or sculpture, and knowing when to stop is always a challenge. I have a team of assistants who help, but some pieces can feel like battles. That said, when a work comes together quickly, there’s a certain magic in its spontaneity.
Your flower series is iconic. What inspired it, and how has it evolved?
The flower series started as a reflection of the lobster’s world. I referenced Warhol’s iconic flower images, but I reimagined them as toy-like, reflective objects within my pop universe. Over time, these flowers became a way to explore the surface and texture of the lobster’s world—a contrast to the character-driven pieces. It’s fascinating how this series has evolved, from conceptual paintings to large-scale sculptures that stand on their own. Recently, in Macau, I exhibited a new iteration where the flowers transformed into abstract, vase-like sculptures, showing how the series continues to grow and adapt.
Speaking of Macau, your recent artistic takeover of the city was extraordinary. Can you tell us about it?
Macau is an incredible place—like a pop-art city with its mix-and-match architecture. Working with Sands China and the Cultural Bureau, we orchestrated the largest artistic takeover in the city’s history. It included two massive inflatables, a 24-meter lobster submarine, sculptures along the seafront, and a major museum exhibition at the Cultural Center. We also installed permanent sculptures, which is exciting because they’ll remain long after the exhibition. The scale and ambition of the project were surreal, and it’s amazing to see art becoming such a key part of the city’s identity.
What’s next for the Lobster Universe?
For the past year, I’ve been working on a cartoon series called The Lobstars. It’s an exciting way to expand the lobster’s world, adding narrative depth and introducing new characters. Creating a cartoon has pushed me artistically because it reveals so much about the world I’ve built—more than a painting ever could. It’s a fun challenge to retain the essence of my art while exploring storytelling in a new medium. We’re also experimenting with AI to enhance the series, which adds another layer of creativity. I’m excited to share it soon.
Do you have any upcoming exhibitions or projects in the UK?
Yes, there are some exciting things in the pipeline. The sculptures at Duke of York Square in London are still on display, and we’re in discussions about several new projects—from large-scale installations to exhibitions. While I’ve been showing extensively in Asia, I’m looking forward to bringing more of my work back to the UK. It’s always nice to do things closer to home—fewer long flights, for one thing!
Philip Colbert at the Saatchi Gallery, London
Philip Colbert’s "The Battle for Lobsteropolis" at the Saatchi Gallery was nothing short of a visual feast. Running from November 29, 2024, to January 13, 2025, the exhibition plunged visitors into Colbert’s whimsical, dystopian world where his lobster persona took on the looming forces of artificial intelligence. The show was a playful yet profound commentary on art history meeting the digital revolution, with monumental AI-assisted paintings stealing the spotlight. Pieces like After Battle of Issus Mosaic reimagined classical works with Colbert's signature humor, transforming Alexander the Great into a lobster locked in battle with AI avatars. Adding another layer of excitement, Colbert's sculptures—witty takes on mythological figures like the Minotaur and Medusa—were both imaginative and thought-provoking. The exhibition offered a perfect blend of old-meets-new, making it one of the year’s most memorable art experiences in London.
Philip Colbert at Helm Gallery, Brighton
For those who couldn’t get enough of Colbert’s lobster antics, his exhibition at Brighton’s Helm Gallery was a true gem. Titled "Prints and Editions," this show ran from December 13, 2024, to January 26, 2025, and provided fans with the chance to bring a piece of Lobsteropolis home. Showcasing collectible prints, sculptures, and limited-edition merchandise, this exhibition was a treasure trove of Colbert’s iconic imagery. The ‘battle scene’ series prints were particular standouts, offering bold, colorful glimpses into his surreal lobster universe. Adding to the excitement were the rare sculptures from his coveted “Lobstar Collectables” series, alongside new pieces that cemented Colbert’s reputation as a master of playful, intelligent art. Helm Gallery’s cozy yet vibrant space was the perfect backdrop for this quirky, fun-filled showcase—one that left visitors smiling and inspired.
Philip Colbert's Flowers pieces are currently part of Flowers - Flora at Saatchi Gallery in London until May 5th, for more info - click here.
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Article by Sal F.
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