The audience is a voyeur, spying on grief and predicting the fate of the trapped game, but powerless to intercede[1] Dorall's work has strong links to the Surrealist tradition of representing scenarios from the unconscious: His exquisite structures perform in the manner of our most puzzling dreams; they make perfect sense while also being completely irrational[2] Australian art critic Robert Nelson finds in Dorall's work a nightmarish representation of the claustrophobic and stultifying nature of suburbia: Most frighteningly, Dorall takes us to the very set-up of domestic life, where we package our existence in suburban blocks with ... the circuitry of paths and borders, beds and lawns, all obsessively demarcating private spaces .... Dorall's little figures sit conversing in vast expanses of artificially enclosed greens, all alienated from the organic pulse of the city, insulated, modularised and upmarket.

[4] The Inversion Theory Dorall's most recent work involves inverting the traditional concept that architectural or scale models are seen as studies for human-scale buildings or final constructions.

In a major solo exhibition The Inversion Theory, held in 2011, Dorall explores the concept of using full size constructions and installations as studies for the miniature – on a grand scale.

At the end of the journey, the viewer has a better understanding when viewing the figurines playing out the narrative within the maze object – in tragic, comedic or horrid detail.

He has also exhibited at: Valentine Willie Fine Art, Kuala Lumpur, Malaysia; The Kiosk / The Physics Room, Christchurch, New Zealand.