“In his exhibition, ‘Lung Capacity’, Dunlop assembled literally hundreds of small canvasses in strict rows. Some of them were placed in an arbitrary sequence, while other small groupings were composed of very carefully placed sets of small painted works. Upon reflection the viewer had a sense of being surrounded and overwhelmed by the works. The gallery became the artist’s territory which is no mean feat at the best of times. Here the work owns the walls on which it is placed. The eye makes its own connections from one piece to the next and endless variations arise – endless possibilities occur.” – John Nelson

“I’ve just purchased Richard’s Night Garden: Rising Damp and the Promise of New Growth. It’s as powerful and brooding a painting as anything I’ve seen at any Biennale.” – Louise Mitchell, Director, Artspace, The Gunnery, 1997

Dunlop’s painting has always been intelligent and it has always had significant content. The viewer has to work harder to unearth his meaning. In their derivation and method, these are highly introspective images.” – Michael Richards, 1991

Richard Dunlop uses the domestic garden as an image for the interplay between the human impulse for orderly processes of control and classification, and nature’s inherently disorderly processes of development through trial and error. There are real species, contrived species, ambivalent species such as carnivorous plants, and ambiguous organisms whereby the evolutionary decision to be plant or animal has not yet been taken; all are linked together through networks of vines and tendrils which both connect and entrap.” – Leonie Stanford, 1996

“The gardener is someone who paints with forms. The excellent form produces a harmony of the faculties, which prompts us to label the garden beautiful.” – Emmanuel Kant

“To paint one must be alone. I cannot become involved with people. I paint for myself and have no sense of mission, nor do I feel any compulsion to communicate, though naturally I am pleased when it seems I have done so.” – Ian Fairweather