“The transformative qualities of water, from mist to ice seem to provide lots of scope for exploration of landscape painting with shared elements of western and non-western traditions. I’m particularly interested in the visual ambiguity that eastern artists have employed for centuries and I’ve always loved the capacity of calligraphists to summarise diverse emotions in a rapid movement. It is this capacity to be simultaneously expressively violent and thoroughly restrained that interests me” – Richard Dunlop, 2013

“In Wattle and Watercourse (2013) drawing is obliterated; drawing becomes paint; image and substance are one. Interior sensibilities of the painter are exteriorised. This masterpiece is the first Australian landscape where the whole canvas is imaged from one object: the wattle.” – Gregory Breeze

“On first looking into Dunlop’s paintings, the viewer is engulfed in an immersive space full of translucent layers that shimmer irresistibly. The eye searches for clues as to what is depicted here – and picks up on leaves, florets, vines, tendrils, organisms and the life breath of tidal forces. It takes a lot of looking to gradually seek these things out, because no one item is clearly defined in sharp focus. It is a fascinating search that leads across all the genre borders. His works are simultaneously landscape, vanitas still life and technical botanical drawing. They are a confluence of layering, wide space, microscopic slide and macro Google earth. Dunlop’s distinguished academic grounding means that he is actively engaging in a non-linear process of layering the image. He paints in cycles of disruption and healing – inserting dramatic elements and then weathering them. This leaves his canvasses with the feeling that the sea has washed over them, awash with tidal forces.” – Professor Peter James Smith, 2013