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2015

“Powerfully, even poignantly themselves as these objects may be – utterly present as phenomena of the known world – they seem endowed at the same time with the status of emissaries from another more ‘real’ one, which we recognise but could not name. It is in this sense that they might be said to approach the sublime. But to put it in those terms we must intend by “sublime” what lies mysteriously beyond the limits, beyond the threshold of what we can grasp, of where we have actually been – though not where, in moments of delight and enlightenment, the awakened spirit may take us.” – David Malouf, Being There, 2015 (quoted with the kind permission of the author, 2015)

“His luminous botanical paintings juxtapose then meld the traditions of both East and West to present us with an overwhelming fecundity of nature’s beauty. This master of seduction plays at the intersection of conventions of poetry, landscape and still life to create a luminal space for the imagination. This allows the viewer to invest Dunlop’s works with his or her own interpretations of life, death and immortality.”  Dr Christine Dauber, University of Queensland, 2015

“Richard Dunlop has had a successful career as a contemporary artist for a sustained period of more than twenty years. In this time, he has been at the forefront of painting’s resurgence in popularity and appeal, and has never been shy of breaking with established art conventions, such as his blending of elements from botanical illustration with still life and landscape traditions.” – Eric Nash, Perc Tucker Gallery 2015

Flesh and Bone 2007+

This series was completed from photographs taken at Dunedin’s Natural History Collection, New Zealand. It is a unique collection well worth visiting.

Note: These can be viewed like film stills accompanied by a few minutes of music.

Anzac Memorial Works

“Those that I fought, I do not hate
Those that I guard, I do not love.”
W. B. Yeats, An Irish Airman Foresees his Death, 1918

“Dunlop displays an ability to express through visual media profound sentiments that defy easy rationalisation. This seems to derive from an intuitive source that shifts from work to work, rather than a consistently regulated one. It is this almost poetic impulse that contributes to the tender beauty of these paintings, which is nevertheless tempered by his acknowledgement of dark, unknowable spaces that exist alongside it. Dunlop cites a drive through Victorian country towns during the ANZAC day period in 2010 as the spark of genesis for this exhibition. As an artist who for many years has sought to reinvigorate the still life genre, witnessing the floral wreaths laid at the base of stone monuments and noting the tension between the ephemeral, decaying wreaths and the solidity of the stone had a resonating impact. These rituals of the living to honour the dead have a kind of didactic function, a way of consistently reminding society about the horror of war in order to avoid its recurrence. Yet perhaps more important to their conveyance of meaning is the tragic beauty encapsulated by the slowly fading wreath, as though by the steady progress of time something once alive is reduced to dust, air and matter. These memorials form a gentle but pervasive metaphor for a greater context.” – Marguerite Brown, 2011

Stradbroke Island Florilegium 2011

Portraits

“Like a favourite artist, Otto Dix, I believe portraits are only worth painting when there is an intuitive sense of some inordinate major changes looming in the subject’s life. That’s when the person is caught in their own headlights, exhibiting vulnerabilities that only last for so long until they regain their balance.” – Richard Dunlop 2002

“As the word itself implies, vision is a matter of seeing, and seeing comes from looking; if an artist has the potential for any kind of original vision, it will be found only by patient and humble attention, and the concomitant, simultaneous effort to crystallise what is understood in concrete form. For what is ultimately seen is through rather than on the surface of things, and the artist must reshape the world to make visible what he has perceived by intuition.” – Christopher Allen 2014

“Baby, I don’t care” – Wendy James

“All the world’s a stage… to thine own self be true” – William Shakespeare

Arsonist Landscapes 2001+

NB: Sold only as a unified set of 12 works, $55,000

Apart from fires caused by natural events, arson is a crime which continues to plague rural Australia, combated by courageous volunteers, and here depicted in extensive nineteenth century style neo-Romantic panoramas in the manner of Eugene vonGeurard. Sigmund Freud wrote a seminal essay on the psychology of arsonists in 1932, linking it with the myth of Prometheus, punished for stealing fire from the Gods.

See Contact section for details of how to purchase this series or email a direct enquiry to richardnoeldunlop@gmail.com

Easter 1986 The Deposition of Christ

“Exponential advances in science and technology, especially in learning how to compartmentalise nature has assisted its rapid exploitation and depletion of diversity. It would be difficult to hold any religion for quite that much devastation.” – Richard Dunlop, 1986

“This series of small paintings now comes to resemble the hooded figures tortured in Abu Ghraib prison, but they were completed well before that, more in conversation with European art history rather than a subscription to any religious ideology.” – Richard Dunlop, 2014

2014

“The aesthetics impress as usual. Richard’s paintings are always gorgeous to look at and they continue his quest for truth and beauty in a visual language he has painstakingly developed. A language that is earthy and transcendent. Richard invents his painterly environments often alluding to the nuances between water and life, which is a very Taoist idea.” – Phil Brown, 2014

Animal Farm 1990+

Animals, and in particular, rhinoceros beetles are a recurring image in Richard Dunlop’s paintings where they intersect with themes of taxonomy, museology and changing identities and histories. Richard’s paintings represent traces of unreliable memories, circumstantial evidence and documentation of people, objects and events.”  Ian Galloway (Director, Queensland Museum), 2005