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GPIC is continually adding to it's fine art offering. We have an extensive network of local and overseas artists and are proud to present some of the most exciting works as far back as the 1800's.

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Lindsay Arnold | Peter Barraclough | Peter Petruccelli |

A Comic Strip Becomes Real Life
Lindsay Arnold
Like an abstract scene from the work of Hieronymus Bosch, Arnold's comic strip comes to life with an explosion of color and depth. Together with a narrative painted directly on the board, this piece conveys the boundaries and connections between our lives and day to day occurrences. People sometimes say they feel their life is becoming a comic strip (We’ve all had the feeling). This is an attempt to depict the opposite. But the reality the strip becomes in the picture is a weird, otherworldy one, where the text is indecipherable, and the divisions between the panels fly about in swirls of scattered energy. There is an autobiographical element in the topleft “panel”. In my youth, I actually did win a bicycle for a drawing of the Queen. Acrylic on board, 36 x 24 inches 2000



Adelaide: An Imaginary View I
Lindsay Arnold
An imaginary view of Adelaide, Australia, in panoramic view. Ominous birds flying across a rustic sky and chaotic landscape. Acrylic on board, 24 x 8 inches 1990



Adelaide: An Imaginary View II
Lindsay Arnold
An imaginary view of Adelaide, Australia, in panoramic view. A cityscape hidden behind a hazy sky. Acrylic on board, 24 x 8 inches 1990



Adelaide: An Imaginary View III
Lindsay Arnold
An imaginary view of Adelaide, Australia, in panoramic view. The road to nowhere. Acrylic on board, 24 x 6 inches 1990



Art Blakey
Lindsay Arnold
A masterpiece in contemporary vision of a musician. As I am a drummer, it is unquestionable that Blakey’s playing had a powerful influence. I wanted to suggest an electric ambience and hints of a latenight audience, the shimmer of cymbals. Acrylic on art board (canvas on board), 18 x 24 inches 2000



Boppo Practicing at the Hienrich Harrer Memorial Llasa Tibet
Lindsay Arnold
Following from the ten clown paintings "The Act", Arnold returns to Boppo and his sad existence. Boppo Swings Again contains some irony. It is set in Hobart’s Arthur Circus, an early site for public hangings. Hence the gallows shadow, and the watching houses. Acrylic on art board (canvas on board), 20 x 16 inches 2001



Boppo Swings Again in Aurthur Circus
Lindsay Arnold
Acrylic on art board (canvas on board), 24 x 20 inches 2001



Chook Factory From Strickland Avenue
Lindsay Arnold
Acrylic on art board (canvas on board), 17 x 14 inches 1987



Disapproval
Lindsay Arnold
Acrylic on canvas, 24 x 18 inches 2000



Drummer Juggling with Clowns
Lindsay Arnold
Acrylic on art board (canvas on board), 24 x 20 inches 2000



Eleventh Clown (Self Portrait)
Lindsay Arnold
Acrylic on art board (canvas on board), 5 x 7 inches 2000



Glebe From 41 Hill St
Lindsay Arnold
Acrylic on board, 18 x 11 inches 1986



Hitler Knitting
Lindsay Arnold
Seeing so much misery around me associated with old age, and Hitler so ubiquitous on TV, it seemed unfair that he avoided such an end, so I’ve put him in some horrible institution, helpless, drugged, incontinent, bored, and hopefully thoroughly miserable! Acrylic on canvas, 18 x 18 inches 2002



Hobart Tech High School Yard
Lindsay Arnold
First oil painting, under tutelage of Alan Gelston. Impasto, pallette knife. Oils on board, 26 x 19 inches 1956



Imaginary View of Adelaide
Lindsay Arnold
Acrylic on board, 25 x 18 inches 1990



Imaginary View of Mr Warning
Lindsay Arnold
Acrylic on card board, 17 x 14 inches 1994



James Joyce's Nightmare
Lindsay Arnold
Acrylic on card board, 17 x 14 inches 1994



Kinky Friedman: Kinky’s Apartment Power Napus Interruptus
Lindsay Arnold
Kinky Friedman series. Acrylic on canvas, 24 x 18 inches 2002



Kinky Friedman: Orange Kangaroos in Denmark
Lindsay Arnold
Kinky Friedman series. Acrylic on canvas, 24 x 18 inches 2002



Kinky Friedman: When the Cat's Away
Lindsay Arnold
Kinky Friedman series. Acrylic on canvas, 24 x 18 inches 2002



Molly Bloom & Blazer Boyle
Lindsay Arnold
Acrylic on card board, 17 x 14 inches 1994



Molly Bloom & James Joyce
Lindsay Arnold
I love Irish literature and art. Apart from that, there are two influences here: the Australian hermit painter Ian Fairweather, and David Lasky of Seattle, who produced a brilliant book about Joyce and the writing of Ulysses - all drawn in the style of Jack Kirby! Acrylic on card board, 17 x 14 inches 1994



Molly Bloom Series I
Lindsay Arnold
Acrylic on card board, 14 x 17 inches 1994



Molly Bloom Series II
Lindsay Arnold
Acrylic on card board, 14 x 17 inches 1994



Mount Wellington from Glebe
Lindsay Arnold
Oil on board, 20 x 12 inches not dated



Portrait of Al Blakers
Lindsay Arnold
Oils on thick art paper, 22 x 30 inches 1977



Prophetic Laughter
Lindsay Arnold
Colored Pen/watercolor on paper/board, 9 x 12 inches 1967



Self Portrait Aged 18 months
Lindsay Arnold
I had painted portraits of my parents, and being in portrait mode, it occurred to me that even Rembrandt had not painted himself as a child. However, I had the advantage of photographs, so I chose this one and tried to emphasize the chubbiness and grumpiness displayed in the original photo. I feel now I may have overdone it. Oil on board, 15 x 19 inches 1971



Self Portrait With Drumsticks & Indecent Exposure
Lindsay Arnold
Then I decided I should do an honest one showing how I actually looked at the time (age 31), while carrying over the theme of grumpiness. Again, I may have overdone it. Oil on card board, 26 x 34 inches 1970



Self Portrait With Painted Rocks, Adelaide
Lindsay Arnold
This was done in Adelaide when I was being divorced at fifty. The painted rocks date back to 1983, when, for no reason, I painted hundreds of them. Acrylic on board, 25 x 37 inches 1990



She Runs
Lindsay Arnold
Acrylic on paper, 12 x 17 inches 1994



The Act – (01). Rope Trick
Lindsay Arnold
Boppo is exasperated almost to tears. He ponders his lachrymose position: This !@#$! Trick used to work fine. Hadn’t he devised it, broken it in, in this very room, here at Jester’s Rest, known in the trade as Lester’s Rent? How many shows, How many years ago was that? It’s ridiculous. Now, you can’t get the right rope, and he fervently wished old Lester Festertester would shut up outside his door. Why’s he always hangin’ round the hallways? What’s he actually doing out there? As if Boppo doesn’t know. But what can he do about it? He might recite a stave or two of something out very loud, he might run up the walls (it wouldn’t be the first time he got chucked out), or he might jump out the window. It’s all the same. Showbiz! It’s a real pitch, baby…… (This painting is sold as part of the ten “The Act” paintings). Acrylic on board, 21 x 16 inches 2000



The Act – (02). A Ledge Ad Lib
Lindsay Arnold
It was quiet outside until that !@#$! helicopter arrived. After the long tedious years dedicated to diligently perfecting his art, Boppo has taken a brief respite break for meditation, recuperation & serious play, or he will go mad from the stress, not to mention the guilt he feels over neglecting his juggling lately. And a few other things. It is some comfort to discover the perfume that Millie the Microcephalic Midget must have left out here. Bless her little cotton socks. She always left the room tidy, but sometimes forgot her brick by the bed. In the circumstances, it was very helpful (the perfume, not the brick), half-full, and sweet with a nose like fortified sherry. So Boppo continues to organize his mind, and ignore everything extraneous, all the static and flack, as he concentrates deeply on trying to teach his yoyo a new trick. It’s relaxing, just what he needs. He drifts off, borne upon the bosom of a gentle reverie into Timeless Space…… (This painting is sold as part of the ten “The Act” paintings). Acrylic on board, 21 x 16 inches 2000



The Act – (03). Instant Dill Pills
Lindsay Arnold
Perched on a perilous ledge, Boppo has a jaded vision of his great Uncle Troppo, a notoriously renowned artiste, still working a very vigorous Act at 98, using dangerous props, long drops, cannons & big animals. It was tremendously topical & popular. Boppo ruminates reflectively on his revered relative’s career. Is it any wonder they were so upset when Uncle T retired? Well, actually, they fired him, in more ways than one, for refusing to follow the elephants with a shovel, after he lost a leg trying to work his famous slack wire routine with a walking frame. It got a big laugh, but he lost his best chimp in the accident. It’s a sad story. The manager said, what !@#$! Dignity? You’ll still be in showbiz won’t ya? Then he turned around at the wake, burst into tears, and said they’d never find another man of Uncle Troppo’s caliber!! It’s a peculiar sort of existence. A fiasco, really…… (This painting is sold as part of the ten “The Act” paintings). Acrylic on board, 21 x 16 inches 2000



The Act – (04). Rattling On
Lindsay Arnold
Enroute to the next gig, truly, all Boppo was trying to say, in a polite cosmological conversation with Winsome, the World’s Widest Woman, was simply that, metaphorically speaking (which Boppo does), are we not all on a train coming from somewhere we’re already forgotten, going someplace we’ve never been or heard of, without a clue who those people are in the audience, or what it’s all about? Ain’t it a fact? So did Winsome really need to quote that backwards idiot Descartes? Was it imperative that she shove Boppo so hard he lost track of his practice and his balls? After all, it was merely a sensible philosophical proposition, a harmless train of thought to pass time between shows. So, if you ask Des Carter would he like a drink or anything, he says, I think not, will he disappear? He’s feeling positively philosophical…… (This painting is sold as part of the ten “The Act” paintings). Acrylic on board, 21 x 16 inches 2000



The Act – (05). Chimney Stack (Take 2)
Lindsay Arnold
Boppo is more than somewhat upset. He’s teetering on the brink of resigning from the project. Nobody told him this gig would involve horrendous climbing and stunt doubling. Sure, the bread’s good, the catering’s okay, the crew’s cool, and as usual the director’s a fool. So what’s new? It’s work, certainly, but The Work is cruel. Boppo cries despairingly to High Heaven: Does anyone know how hard it is to keep three hoops going? How many takes will they want? When you need a helicopter, they say it’s not in the budget! Yes, Boppo badly requires rest. He can’t wait for the Wrap party. He’s got a bit prepared: it only needs some work on the tag. Why must he be eternally distracted from his Real Work by trivia like this stupid film called “Jeopardy on a Wednesday in Brazil”, shot in some place he’s not even sure exists, starring actors he’s never heard of? I suppose it’s some kind of living. Look at it that way. Speed, Action…… (This painting is sold as part of the ten “The Act” paintings). Acrylic on board, 21 x 16 inches 2000



The Act – (06). Drummed Out
Lindsay Arnold
Working sedulously on his exploding traps, Boppo finds himself all but deliriously contented to be safe & resting again at his Clowns’ Kountry Klub Kabin. It doesn’t say so in the brochures, but it is actually a benevolent mental Klinic for Klpapped-out Klowns. Clearly, it is efficacious therapy for Boppo. It seems to work, to an extent, like a dream. It clears his overtaxed head. His thoughts become intrinsically pristine: How many rattamacues make a demi-semi parradiddle? How can you tell if a drummer knocks at your door? It slows down… What’s the difference between a drummer and a conductor? Conductors only have one stick… The difference between rhythm machines & drummers is – Boppo explores his tired repertoire – you only have to punch the tempo into the machine once… That’s it! Oh, his brains are bouncing back all right! Why don’t those stupid sheep get out of the rain? This stool feels kinda wonky…… (This painting is sold as part of the ten “The Act” paintings). Acrylic on board, 21 x 16 inches 2000



The Act – (07). Swarming With Intent
Lindsay Arnold
Boppo is in a state of High Chagrin. His thoughts whirl. When the World Clown Federation invited him to join the newly formed Gliding to Glory squadron, he felt so honored he drank himself into oblivion. Now he finds the whole Event is nothing but a beat-up by the Kommittee, to flog a whisky-table book about the Treasurer’s historical collection of Antique Clown Accoutrements. He’s actually got a 25 inch length of one of Little Titch’s shoelaces! Not to mention showcases full of famous Bearded Ladies’ moustaches, and they say his bed is warmed by about 500 wellworn fright wigs. It’s just not right. On top of that, the lousy !@#$!’s have banned Teddy! It’s all too much. What a pity Boppo wasn’t tall enough to get work in the Federation’s Worldwide Talkback Knowns’ Kounselling Service! It’s pathetic joke, really. They push you over the edge…… (This painting is sold as part of the ten “The Act” paintings). Acrylic on board, 21 x 16 inches 2000



The Act – (08). Archimedes Skit Practice
Lindsay Arnold
Boppo is clean, cleaner that the bathroom here at Jester’s Rest, but in his mind he is dirty. He is less than thrilled to be back. The place holds too many morbid memories. Is that lightning outside? Who cares. He must prepare for an imminent tour. Well, it’s a gig. Things aren’t so bad. Chin up. This bit needs some snappy lines, so he scans his wits for smileraisers, but nothing fits: Folks, did you ever suffer an upthrust, an apparent loss of weight? I could catch something in here, if only I had some bait! It’s no good, he has another drink. Oh dear. Boppos’s all over the shop. Then abruptly, Eureka! Like an epiphany, it dawns on him that we are all partially or wholly immersed in life, equal to the weight of the fluid displaced. A Universal Truth! He is utterly shocked by a realization of his own brilliance. Yes, Boppo is out for a ducking…… (This painting is sold as part of the ten “The Act” paintings). Acrylic on board, 21 x 16 inches 2000



The Act – (09). Late for the Next Show
Lindsay Arnold
Boppo is lonesome, morbid and drear, with no apparent reason or excuse. He strives with his mentations: This show’s been fun to work on. Everyone treats him swell. He’s respected for his long dedication to the difficult art of wringing jollity out of mugs, and he’s appreciated for his uncanny dexterity with tentpoles and puns. The bread’s excellent. The cook’s a genius with a sausage. He can’t really complain. So what is it? What’s bugging Boppo so much? Why this staggering dolorousness? Golly, he’s exhausted! It must be genetic, he thinks, slipping ruminatively. Not a single gag springs to his wearied mind. Not a leaf stirs the air. It’s a relief, really, not having to think. Previously, in the throes of this recurrent predicament, Boppo has several times attempted to utilize this same ingenious methodology. Oh, it works all right! Tweet tweet…… (This painting is sold as part of the ten “The Act” paintings). Acrylic on board, 21 x 16 inches 2000



The Act – (10). Boppo’s Fun Tours
Lindsay Arnold
It’s got to where nobody will employ him (for a variety of reasons, all spurious, according to Boppo), so he has managed to somehow borrow or purloin a plush, roomy vehicle from his cousin Kroppo, who has recently floated a Company called Klassy Kustom Karhire. Yes, Boppo is embarking upon a desperate foray into the lucrative Tourism industry! A brave, possibly foolhardy endeavor. Who can honestly say? He is magnanimously treating three of his favorite brothers to an Inaugural Test Run along the exciting scenic Winter route he has chosen. Naturally, Slappo, Sloppo and Wacko are by nature inclined to turn his serious Research Field Trip into nothing but another tawdry drunken bunfight. What the hell. They couldn’t stop chortling over what the Ranger said, when he viewed that map of Boppo’s projected fact-finding excursion: But – but that would be positively sillycidal!!! (This painting is sold as part of the ten “The Act” paintings). Acrylic on board, 21 x 16 inches 2000



The Spanking
Lindsay Arnold
Oil on board, 25 x 21 inches 1974



Woman Pulling Face
Lindsay Arnold
Acrylic on card board (red)/Acrylic on board (blue/green), each 18 x 13 inches 1989


 
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