Richard’s work exhibits a concentrated approach to developing an art practice, sustained over a long period. He has consistently carved a unique niche for his work – his painting practice contributes significantly to ongoing dialogues and discussions relevant to contemporary painting although he doesn’t subscribe to any one existing style or theoretical framework. He has developed a unique style while continuing to experiment and extend the boundaries of his own practice. If anything, Richard’s practice is innovative by virtue of its singular focus.” – Alison Kubler, 2007 

“Richard Dunlop’s multi-layered paintings present themselves from several perspectives simultaneously. Capturing the true beauty of organic chaos, Dunlop’s canvas could be painted from within, above or as a magnification of his beloved Australian natives. The skewing of perspective brings to mind, among other greats of Australian landscape painting, William Robinson and John Olsen, while repeated motifs seem to nod at the brilliance of Australia’s best indigenous artists.” – Iain Dawson (Tim Olsen Gallery Catalogue Essay) 2007

“Dunlop draws fresh attention to the overlooked and mundane while exploring themes of opulence, death, transcience, decadent excess and that most maligned and elusive quality, beauty. Undoubtedly, painting and beauty are both here to stay. Dunlop deals with these issues but he is clearly neither a slave to the past or present like the artists he admires, Ian Fairweather, Per Kirkeby, Neo Rauch, Morandi and Titian, for example.” – Professor Mostyn Bramley-Moore

“Unlike many artists who achieve early success, he did not settle into a safe, carefully constructed
manner that invited approval. He kept up the risk, the restlessness, the search for transcendence.”
Sebastian Smee 2007