2019 oil on archival paper on panel 100 x 100cm, Sold
2019 oil on board 80 x 100cm, Sold
2019 oil on Belgian linen 152 x 152cm, $22,000
2018-2019 oil on canvas 125cm x 100cm
2019 oil on board 90 x 120cm, Sold
2019 oil on panel in hand carved Tasmanian colonial oak frame purchased in Campbelltown 40 x 61cm (image size) 62 x 83cm (framed size)
2019 oil on panel in hand carved Tasmanian colonial oak frame purchased in Campbelltown 40 x 61cm (image size) 62 x 83cm (framed size)
2019 oil on panel in hand carved Tasmanian colonial oak frame purchased in Campbelltown 40 x 61cm (image size) 62 x 83cm (framed size)
2019 oil on panel 30 x 120cm
2019 oil on panel 30 x 120cm
2019 oil on panel 30 x 120cm, Sold
2019 oil on wooden panel 30 x 120cm, Sold
2019 oil on Tasmanian oak 20 x 120cm, Sold
2019 oil on Tasmanian oak 20 x 120cm, Sold
2019 oil on panel 30 x 120cm
2019 oil on panel 30 x 120cm
2019 oil on panel 30 x 120cm
2019 oil on Belgian linen 13 x 20cm, Sold
2019 oil on Belgian linen 13 x 20cm, Sold
2019 oil on canvas 145 x 120cm
2019 oil on linen 61 x 61cm
2019 oil on linen 60 x 60cm, Sold
2019 oil on Belgian linen 130 x 200cm, Sold
2019 oil on linen 101 x 101cm, Sold
2019 oil on canvas 13 x 20cm, Sold
2019 oil on panel 122 x 90cm, Sold
2019 oil on linen 61 x 61cm
2019 oil on Tasmanian oak 20 x 120cm, Sold
2019 oil on panel purchased from Bunnings in Devonport 18.5 x 180cm, $6,500
2019 oil on panel 19 x 180cm, Sold
2019 oil on panel 18.5 x 183.5cm, Sold
2017-2019 oil on Tasmanian oak panel 126 x 162cm, Sold
2019 oil on Belgian linen 155 x 140cm, Sold
2019 oil on Belgian linen 150 x 195cm, Sold
2019 oil on Belgian linen 120 x 80cm, Sold
2019 oil on Belgian linen 150 x 95cm
2019 oil on Belgian linen 150 x 95cm
2019 oil on Belgian linen 90 x 90cm
2019 oil on linen 60 x 60cm, Sold
2019 oil on Belgian linen 40 x 30cm, Sold
“[Dunlop] is emphatic in the fact that his sole goal is to put something beautiful in the world; something that was not there before.” – Frances Vinall, 2019
“Dunlop’s imagery has an unusual feeling. He is not simply painting a landscape, but cracking it open, his eye swimming in to find the specific components, and how they are constructed. There is a sense that Dunlop is pulling things apart with his work, fragmenting and reforming to understand what it is that he sees.” – Andrew Harper, 2019
“We do not find many cases of artists trying to rebuild a language for representing the world, in particular through the primary media of drawing and painting.” – Christopher Allen 2019
“Each painting asks its own set of questions.”– Cecily Brown 2019
“The Great Western Tiers (including Cradle Mountain and the Highlands Lakes District) is a wilderness area of Tasmania, adjacent to Deloraine where Richard Dunlop now lives. It is mostly world heritage listed, as it should be, being some of most pristine territory remaining on earth, and hard-fought to keep that state. There, Dunlop experiments with perspective, often conjuring a ‘floating’ interior which allows the picture plane, like language to open into ambiguous space, and allows the viewer to vicariously enter the work.” – Tattersalls Prize 2019