Darcey Bella Arnold born 1986 in Melbourne, Australia. Lives and works in Melbourne, Australia...
Ceci n'est pas une orange, or the authority and failure of language, 2022, oil on cotton duck, 42 × 51 cm. Private collection, Canberra.
It escapes, irretrievable time, 2022, acrylic on cotton duck, 60 × 80 cm
Yellow, Red, 2022, acrylic on cotton duck, 150 × 200 cm, front view, on wooden stand.
Robin Red, 2022, acrylic on board, 50 × 60 cm
Time heals and divides, 2022, acrylic on cotton duck, 80 × 60 cm. Private collection, Canberra.
Time flies, acrylic on board, 2022, quartz clock mechanism, 60 cm diameter
Entropy Painting, 2022, acrylic on cotton duck, 150 × 200 cm
Entropy Painting, 2022, acrylic on cotton duck, 150 × 200 cm, front view, on wooden stand.
Entropy Painting, 2022, acrylic on cotton duck, 150 × 200 cm, back view, on wooden stand.
Atrophy Painting, 2022, acrylic on cotton duck, 150 × 200 cm. Private collection, Adelaide.
Atrophy Painting, 2022, acrylic on cotton duck, 150 × 200 cm, front view, on wooden stand. Private collection, Adelaide.
Atrophy Painting, 2022, acrylic on cotton duck, 150 × 200 cm, back view, on wooden stand. Private collection, Adelaide.
a concrete poem (after Hansjörg Mayer), 2022, acrylic on cotton duck, 80 × 60 cm
Small time, 2022, acrylic on cotton, 30 cm diameter. Private collection, Melbourne.
Saffron, 2022, acrylic on cotton duck, 150 × 200 cm
Anti-Entropy (LB Sainte Sébastienne), 2022, acrylic on cotton duck, 150 × 200 cm
Anti-Entropy (LB Sainte Sébastienne), 2022, acrylic on cotton duck, 150 × 200 cm, front view, on wooden stand.
Anti-Entropy (LB Sainte Sébastienne), 2022, acrylic on cotton duck, 150 × 200 cm, back view, on wooden stand.
Useful order, 2022, plaster and acrylic paint, wooden base, dimensions variable.
Disorder is more probable than order, 2022, plaster and acrylic paint, wooden base, dimensions variable
Untitled, 2022, paper on paper, 30 × 30 cm. Private collection.
Untitled, 2022, letraset and pencil on paper, 30 × 30 cm. Private collection, Canberra.
Untitled, 2022, letraset and pencil on paper, 30 × 30 cm. Private collection, Melbourne.
Untitled, 2022, letraset and ink on paper, 30 × 30 cm. Private collection, Adelaide.
Untitled, 2022, ink and pencil on paper, 30 × 30 cm.
Untitled 2022, letraset and pencil on paper, 30 × 30 cm
Untitled, 2022, letraset and pencil on paper, 30 × 30 cm
Untitled, 2022, letraset and pencil on paper, 30 × 30 cm. Private collection, Canberra.
Untitled, 2022, letraset and pencil on paper, 30 × 30 cm
Untitled, 2022, letraset and pencil on paper, 30 × 30 cm
Untitled, 2022, letraset and pencil on paper, 30 × 30 cm. Private collection, Canberra.
Prosperina series 1, 2020, acrylic on linen, 31 × 41 cm. Private collection, Melbourne.
Prosperina series 2, 2020, acrylic on board, 41 × 51 cm. Private collection, Melbourne.
Prosperina series 3, 2020, acrylic on linen, 51 × 41 cm
Prosperina series 4, 2020, acrylic on linen, 46 × 61.5 cm. Private collection, Melbourne.
Prosperina series 5, 2020, acrylic on linen, 46 × 61.5 cm. Private collection, Melbourne.
Prosperina series 6, 2020, acrylic on board, 61 × 91 cm. Private collection, Melbourne.
A Witness, 2020, acrylic on canvas board, 110 × 80 cm. Artbank Collection.
Sweet to delete, 2020, acrylic on canvas board, 47 × 42 cm. Private collection, Melbourne.
Sweet to delete, 2020, acrylic on canvas board, 42 × 40 cm. Private collection, Melbourne.
Happy day, 2020, acrylic on canvas board, 61 × 50 cm. private collection, Melbourne.
Limp lump letter, 2020, acrylic on canvas board, 61 × 50 cm
Spirax Dictionary 2, 2020,
acrylic and digital print on canvas board,
130 × 95 cm
Spirax Dictionary 2, 2020,
acrylic and digital print on canvas board,
130 × 95 cm
Spirax Dictionary 5, 2021,
acrylic and digital print on canvas board,
120 × 85 cm
Spirax Dictionary 4, 2021,
acrylic and digital print on canvas board,
120 × 85 cm
Ed-it con-tin-u-e, 2019, acrylic on canvas board, 125 × 95 cm
Darcey Bella Arnold, I ’ll know my song well before I start singing, Acrylic on canvas board, 150 × 250 cm
Darcey Bella Arnold, White and cream brick, Acrylic on canvas board, 120 × 90 cm
Darcey Bella Arnold, Coco, Acrylic on digital print canvas board, 120 × 90 cm
Darcey Bella Arnold, Bella, Acrylic on digital print canvas board, 120 × 90 cm
Darcey Bella Arnold, Red brick 2, Acrylic on canvas board, 120 × 90 cm
Darcey Bella Arnold, Red brick 1, Acrylic on canvas board, 120 × 90 cm
Darcey Bella Arnold, Upholstery painting 3, Upholstery fabric and gesso on board, 120 × 90 cm
Darcey Bella Arnold, Upholstery painting 2, Upholstery fabric and gesso on board, 120 × 90 cm
Darcey Bella Arnold, Upholstery painting 1, Upholstery fabric and gesso on board, 120 × 90 cm
, previous, next.
Exhibitions
Footnotes
Viewing Rooms
Further Reading

Darcey Bella Arnold (b. 1986) is an Australian, Melbourne-based artist of British and Scottish descent. Darcey completed a BFA, Drawing at the Victorian College of the Arts, Melbourne (2007), and a BFA, Honours at Monash University, Melbourne (2009). She lives and works in Melbourne.

 

 

A selection of recent exhibitions includes: A Measure of Disorder, Gertrude Glasshouse, Melbourne (2022); A Measure of Disorder, Works on paper, ReadingRoom Library, Melbourne (2022); If Not At Arm’s Length, curated by Tim Riley Walsh, Gertrude Contemporary, Melbourne (2022); A Music Project (after JN), ReadingRoom, Melbourne (2021); me say edit be, ReadingRoom, Melbourne (2020); My Mother’s Labour, Sutton Gallery Project Space, Melbourne (2018); Folded brick, Darcey Bella Arnold and Deimantas Narkevičius (LTU) organised by Paulius Andriuškevičius and Nicholas Kleindienst, Neon Parc Project Space, 215 Albion St, Brunswick, Melbourne (2018); and Talking with the Taxman About Poetry, Testing Grounds, Melbourne Arts Precinct (2017).

 

 

Darcey’s curatorial projects include Duck on the Pond, involving artists Elena Betros López, Noriko Nakamura, Lisa Radford, Salote Tawale, Roberta Joy Rich and Kalinda Vary at an offsite location in Melbourne (2018); and Bricklaying with artists Dan Moynihan, Georgina Cue and Adam Wood at Rearview Gallery Project Space, Melbourne (2017).

 

 

Darcey has been a finalist in the John Fries Award (2021), Bayside Acquisitive Art Prize (2019) and the Ravenswood Australian Women’s Art Prize (2018). She attended an Artist-In-Residence program with Eastside International (ESXLA) Los Angeles (2016), and was included in Kimposium, a social sciences symposium curated by Dr Meredith Jones at Brunel University, London (2015).

Darcey was recently selected as a finalist in the 2022 Geelong Contemporary Art Prize, with a forthcoming exhibition as part of the award, at Geelong Gallery, 25 June–11 September, 2022, with the prize announcement taking place on 15 July, 2022.

Darcey is also one of 12 artists in the churchie emerging art prize 2022. The finalists will have their work exhibited at the Institute of Modern Art, Brisbane guest curated by emerging Sri Lankan-Australian curator and art historian Elena Dias-Jayasinha.  The exhibition dates are 30 July–1 October, 2022, with the prize announcement taking place at the gallery Friday, 2 September, 2022.

 

Darcey is a 2020-2023 Gertrude Studio Artist, Gertrude Contemporary, and is represented by ReadingRoom Naarm/Melbourne. She lives and works in Naarm/Melbourne, Australia. 

 

View CV + Biography