Robert Pulie works with the morphology of materials and other symbolic systems. Slippages between what is said and what is heard, between two and three dimensions, between positive and negative values, often driven by the individual characteristics of the specific material at hand by way of emphasizing that this is the natural proclivity of the world. He makes sculptures and paintings invested with an idiosyncratic humour that cycles between the material and the symbolic. The rich aesthetic content of Pulie’s work, slowly crafted and unconventional, is written-through with a queer eroticism that finds pleasure in the malleability of things.

Robert Pulie (b. 1969, Sydney) completed a Bachelor of Visual Arts at Sydney College of the Arts, The University of Sydney in 1990. He was actively involved in a number of Sydney artist-run-initiatives: CBD Gallery (1993-1995), Front Room (2002-2003) and BLOCK (2002-2003).

Solo exhibitions include Change Sign, The Commercial Gallery, Sydney (2013), Turning around and looking back, The Commercial Gallery, Sydney (2012), Belief In Suspension, db project, Sydney (2012) and Behind Red Eyelid Blind, Institute of Contemporary Art Newtown (ICAN), Sydney (2008). Pulie had five solo exhibitions at Mori Gallery, Sydney (1995, 1997, 1998, 2000, 2004).

Group exhibitions include Let's Play: The art of our time curated by Rodney James, Bunjil Place, Melbourne (2017 and 2018); Work, curated by Helen Johnson, Slopes, Melbourne (2014); OUI we, The Commercial Gallery, Sydney (2014); MCA Art Bar, curated by Nick Dorey and Hossein Ghaemi, Museum of Contemporary Art, Sydney (2014); 20/200, Sarah Cottier Gallery, Sydney (2014), Redlands, Konica Minolta Art Prize, guest curator Julie Rrap, NAS Gallery, The National Art School, Sydney (2013), ONE/THREE, the inaugural exhibition at The Commercial Gallery, Sydney (2012); Mirror Mirror: Then and Now, curated by Ann Stephen at Verge Gallery, The University of Sydney, The Institute of Modern Art, Brisbane and Samstag Museum of Art, The University of Adelaide, Adelaide (2009 and 2010); Predictive txt, curated by Hany Armanious at Hamish McKay Gallery, Wellington (2005); Public/Private Tumatanui/Tumataiti The 2nd Auckland Triennial, curated by Ewen McDonald and Ngahiraka Mason, Auckland Art Gallery, Auckland (2004); Anita & Beyond, curated by Lisa Havilah, Penrith Regional Gallery, Sydney (2003); Into the Blue, curated by Linda Michael, Monash University Museum of Art, Melbourne (2002); Objection, curated by Russell Storer, Sarah Cottier Gallery, Sydney and The Physics Room, Christchurch (2000 and 2001).

Pulie won the 2013 Vortex Wearable Art Prize with his Soft Stop Costume. In 2001, he was the recipient of a Visual Arts & Crafts Grant from the Australia Council for the Arts for a residency in Los Angeles. His work is in the Chartwell Collection, Auckland, the Allens Arthur Robinson Collection, Melbourne and Artbank, Sydney.

In 2016, Pulie was commissioned by Sydney dance band, Holy Balm, to create artwork for the cover of their album, Activity, on the Chapter Music label. Guest editor David Capra has invited him to contribute to the April 2017 issue of un Magazine.