- 2021 oil on paper with collage mounted to Tasmanian oak panel 120 x 180cm, Sold
- 2021 oil on Belgian linen 80 x 80cm, Sold
- 2021 oil on Belgian linen 158 x 195cm, Sold
- 2021 oil on Belgian linen 158 x 195cm, Sold
- 2021 oil on Belgian linen 141 x 160cm
- 2021 oil on Belgian linen 102 x 105cm, $10,000
- 2021 oil on Belgian linen 119 x 97cm, Sold
- oil on Belgian linen mounted to Tasmanian oak panel 90 x 90cm, Sold
- 2021 oil on Belgian linen 100 x 160cm
- 2021 oil on Belgian linen 200x204cm, Sold
- 2021 oil on Belgian linen 210 x 165cm
- 2021 oil on Belgian linen 145 x 196cm
- 2021 oil on Belgian linen 156 x 202cm, Sold
- 2021 oil on Belgian linen 140 x 200cm
- 2021 oil on Belgian linen 74 x 75cm, $8,000
- 2021 oil on Belgian linen 132 x 200cm, Sold
- 2021 oil on Belgian linen 145 x 96cm, Sold
- 2021 oil on Belgian linen 120 x 120cm, Sold
- 2021 oil on Belgian linen 120 x 120cm
- 2021 oil on Belgian linen 140 x 206cm, Sold
- 2021 oil on Belgian linen 196 x 172cm, Sold
- 2021 oil on Belgian linen 170 x 206cm
- 2021 oil on Belgian linen 140 x 200cm
- 2021 oil on Belgian linen 150 x 150cm, Sold
- 2021 oil on Belgian linen 208 x 168cm
- 2021 oil on Belgian linen 200 x 140cm, Sold
- 2021 oil on Belgian linen 140 x 200cm, Sold
- 2021 oil on Belgian linen 94 x 130cm, Sold
- 2021 oil on Belgian linen 100 x 160cm
- 2021 oil on Belgian linen 152 x 136cm
- 2021 oil on Belgian linen 67 x 124cm, $9,000
- 2021 oil on canvas 102 x 84cm, Sold
- 2021 oil on Belgian linen, $16,500
“Only when one is standing at exactly the right angle can you see and comprehend a new thing fully and for the first time.” – Lao-Tzu 6th Century BC
“I have to record the glimpse seen at the highest point of affection – points of optical ecstasy, where romanticism and optimism overshadow any form of menace of foreboding. I have to paint pictures that have an effortless naturalness, not artificial or synthetic, not manufactured. I have to paint pictures that have no affectation through mental tricks, but are graceful and according to nature… Every part should be poetic and responsible for its own existence. It should be easy to take. I try to change the meaning of the thing painted into a new image – an elevated feeling.” – Brett Whiteley re ‘Lavender Bay’ paintings
While most of the risks Dunlop takes are well considered, some are quite the opposite. He describes painting as “an arena almost like a boxing ring…I don’t do preparatory drawings [and] the final paintings carry some signs of decisions made en route, erasures and changes of mind, remnants of under-painting all add to the ‘archaeology’ of a ‘picture’, an artificial thing like a novel or film.” The process, like his subject matter, is quite organic. Dunlop takes further risks by introducing random acts of violence to each work, and then attempts to resolve them, as would “occur in any natural settings.” Though, fittingly, he allows “earlier layers to persist…to give a sense of memories and the passage of time, just out of reach.” – Eric Nash, Curator
“Your pictures give me energy in the morning.” – Adam Hudson, serial entrepreneur and philanthropist