"'Real love' is everywhere, pulsating with guts and glory. Unperturbed by the consequences of its affection, love blazes in that eternal moment of self-interest. 'Love' is different for each one of us. Our western consumer society has given us the right to put self-love first.” Ropar 2009

Drawing on Popular Culture Iconology of the 1950s, Ropar offers viewers a pastiche of parody that comments on brazen consumerism the comodification of Love within our society. Feminine protagonists of self love are portrayed overtly, engaging the viewer directly. The figures, surrounded by popular culture effigies, invite the viewer to consider the different forms of love found within our lifestyle. This line of questioning is articulated through items such as: popsicles, overt sexuality, text and composition.

It is interesting to note that Ropar’s take on Real love explores all facets of love. His works, while arresting the viewer with the strength of their composition and colour schemes, act as effective advertising and secure their attraction with the viewer instantly. However, once captured we are alerted to the other side of Real Love. As a modern day Romantic, Ropar considers the dangers of Love, alluding to it through the inclusion of symbols that warn the viewer to be wary. Ropar satirically highlights the dangers of Love. Ropar highlights, “The 'unlucky' tag reminds us that the choices we make for the things we love can ultimately be unlucky. The smoking cowboy gets cancer, the car kills, the object of our desire is remote, or even a fantasy, as advertising woos us with its mirage. Love as con trick- dangerous and fatal.”

In the same way that Ropar articulates the advertisement of Real Love, he conceptually interweaves his own love of self and self promotion through out the works presentation. Ropar extrapolates the discourse on love through other considerations such as parental love, consumer love, romantic love, love of power, love of smoking or simply love of drinking 7Up on a hot day.

Ropar’s successful discourse on Love is complimented with the works consisting of an onslaught of personal symbolism, the incorporation of which allows for the succinct reading of the work. The inclusion of the Bambi icon for example, alludes to the gentleness that Love offers and offers a powerful juxtaposition when butted up against the depicted figures. Other symbology includes the use of the Lichtenstein Pop Art brush stroke, symbolizing that the works are painted by the artist. Ropar also cleverly references contemporary pop art through the addition of the stenciled light blue spots referencing today’s graffiti culture. Ropar references the Hokasai’ wood cut wave, and harnesses the film reference of the “Smoking Gun”. Both images reference poignantly the power that drives real love.

The juxtaposition of varied tropes that Ropar successfully conflates, contributes to the overall impact of the Real Love collection offering the viewer an explosive visual engagement.

SOLO EXHIBITIONS
2009 Jackman Gallery Melbourne, “Real Love”
2008 Jackman Gallery Melbourne, “Roparville”
2008 United Gallery, Sydney, “Cowboys, Pin-ups & Bling”
2007 Masterpiece at DXL, Hobart, “Product”
2007 Greenwood Gallery, Melbourne, “Disposable”
2006 Span Galleries, Melbourne, “Behind Closed Doors”
2006 Church Studios, Adelaide, ‘Behind Closed Doors”
2006 Fad Gallery, Melbourne, “Leatherbound Women”
2006 Pop Shop by Ropar, Melbourne, “Leatherbound Women”
2006 Pop Shop by Ropar, Melbourne, “100 Ropars No Reserve”
2006 Fad Gallery, Adelaide, “100 Ropars No Reserve”
2005 Pop Shop by Ropar, Melbourne, “Wonderland”
2005 Span Gallery, Melbourne, “America We Love You”
2005 Pop Shop by Ropar, Melbourne, “America We Love You”
2005 Wall Gallery, Melbourne, “What Is Ropar"
2004 Blackkab Gallery, Brisbane “What Is Ropar”
2004 Fad Gallery, Melbourne, “What Is Ropar”
2004 Telstra Building, Melbourne, “Icons”
2004 Richard Hosking, Adelaide, “Pin Ups”
2004 Affordable Art Fair, Melbourne
2004 Rex Livingstone Fine Arts, Sydney, “god save America 11”
2004 Kalli Rolfe Contemporary Art, Melbourne, “-goes dotti”
2004 Dream, Melbourne, “Pink”
2003 Kalli Rolfe Contemporary Art, Melbourne, "god save America 11”
2003 Elliot Salon, Melbourne, “My Funny Valentine”
2002 Rex Livingstone Fine Arts, Sydney, “Cowboys Again”
2002 Jackman Gallery, Melbourne, “Dennis Ropar & Darrell Hall”
2002 Span Galleries, Melbourne, “Product”
2002 Showgirls Bar 20, Melbourne, “Wet Dreams"
2001 Kula Lotrscak, Zagreb, “Melbourne Life”
2001 Mansour & Hill Gallery, Melbourne, “Hommage”
2001 Mansour & Hill Gallery, Melbourne, “Cowboys Do It Better”
2001 QDOS Gallery, Melbourne, “On The Road”
2000 Aardwolf Gallery, Melbourne, “Blimps In Cities”
2000 Aardwolf Gallery, Melbourne, “Paintings On Pailings”
2000 Aardwolf Gallery, Melbourne, “Works On Paper and Sculptures”
1999 Span Galleries, Melbourne, “A Cowboy, His Horse and a Hose”
1998 Span galleries, Melbourne, “Wanna Be A Cowboy”

GROUP EXHIBITIONS
2008 Jackman Gallery Melbourne, “Group Sculpture”
2008 United Gallery Sydney, “Hip Pop”