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Ray Arnold A Fiction?

The Artist

According to the  Tasmanian Arts Guide,  Raymond Arnold was born in Victoria in 1950 and moved to Tasmania in 1983. Under the influence of the island’s natural environment, Raymond developed his career to become a printmaker and painter of international reputation. Today, his legacy to Tasmanian art is already well established and he is a driving force in the discourse around land/art issues within Tasmania.

Raymond’s work reflects the construction of the Tasmania landscape, in particular that of the west coast, his adopted home. He articulates this unique landscape masterfully, introducing viewers to its rugged, compelling beauty and the many vital issues surrounding its past, present and future.

In 2006, Raymond established Landscape Art Research Queenstown (LARQ), a non-profit studio and gallery in the mining town of Queenstown in Tasmania’s west. LARQ’s main intent is to develop a ‘wilderness’ art space with an imbedded residency program that will become a nest for incubation for his own art practice and that of others in response to the natural and heritage values inherent in the region.

Raymond has held more than 50 solo exhibitions and participated in group shows in Australia, Europe and the USA. His work can be found in the collections of the Imperial War Museum, the Victoria and Albert Museum in London, the Bibliotheque Nationale and the Musee Courbet in France, as well as the National Gallery, the Australian Parliament House and all state galleries in Australia.

A fiction? by Ray Arnold

The  Work of Art

A Fiction ? by  Ray Arnold  is another print that contributed to the 'Land' portfolio to mark the bicentennial of European  settlement. Much like  Micky Allan's work, it is a  statement and is meant as a talking point.  The image depicts a  grave-stone on which is a tree and an  axe. These are the effects Ray Arnold sees as  part of colonization- the deforrestation of the landscape. The  wording ' fiction, colonization, redcoats, grave etc... and  the leaching of the colours out of the print stress the damage being done on the landscape and the environment. The work was produced by a screenprint technique using multiple stencils.