Raymond Arnold Glover Entry 2017
My dream of the ghost ship, the ship of ghosts
Delacroix’s ‘breakthrough’ painting and a Situationist ‘switch’
Détournement – Departed souls crossing the Styx
Double-Glover winner, Raymond Arnold, feels free and inspired as an artist living on the West Coast
Work in Progress
This day we sat together under the shade of the Shea Oaks shutting out the blistering January sun. The memory of a special friend now lost to us bound to the earth with his ashes. This moment we held together friends of old and new together as artists we sat in a scared landscape more ancient than we can remember. For Brett
Helena Demczuk: Bruny Art Prize Entry September 2016
Underpainting in Red Umber. The blacks my favourite Red Umber and French Ultramarine Blue, rich and exotic.There’s Cobalt Blue, a true spectrum blue neither warm nor cool, it wanders around the background.Helios Red, Italian Pink, Indian and Alizarin Yellow both transparent leaning towards the orange and absolutely permanent. Still experimenting with the greens and including touches of Viridian I am still in wonder about this colour. Yellow Ochre rich clean and brilliant it is to remind one of the Renaissance illuminated landscapes. And now there is Cyprus Orange to try where you can almost feel the Mediterranean sun
Raymond Arnold – Local Hero Australian Of the Year Tasmania Recipient
Attending reception at the Lodge, Canberra and meeting Prime Minister Malcolm Turnbull.
Helena Demczuk and Tasmanian Young Australian of the Year nominee, Zak Lockhart, at Government House reception.
Raymond Arnold Glover Entry 2016
Title: I gave Jamie, the young local artist with Aspergers, a book on Escher for Christmas
Medium: Acrylic on linen diptych. Size: 102 cm x 153 cm. Date: 2016
I’ve been painting on the west coast of Tasmania for thirty years. The art works have been mainly focused on the artefacts from the ‘industrial churn’ that is a function of the developmental forces gouging their way across this ancient landscape since settlement. The objects and places I depict are like flotsam on the ocean surface, being pushed and pulled through random actions into aggregate communities.
As the miner cleaves and separates rock from the precious mineral I paint.
As the acid laden creeks and lifeless rivers bubble and froth their way to the sea I paint.
As the remnant mountain orchid struggles to bloom on the wasted, gravelly surface I paint.
Between ‘the issue and the return’, as in the Escher image, I paint.
In 2005 I decided to live and work in Western Tasmania. Within a type of crucible! ‘Wild nature’ being mashed up and transformed into the material world. I fashioned the Landscape Art Research Queenstown project as a type of ‘all terrain’ survival vehicle to do so. For over a decade the LARQ project has bumped and jolted its way over this land clad in HI-VIS accoutrements curating many exhibitions – including Jamie’s, running workshops and hosting artist residencies along the track.
LARQ has become ‘rusted on’ to an environment that shrinks and swells through economic cycles. People live, leave or die within a community that is at once an echo of my flotsam analogy but also within a community that I might describe as elemental as it struggles to transition and find a balance between exploitation and celebration of the natural world! Between the utilitarian and the spiritual.
Raymond ARNOLD January 2016