Mark Dyer is an artist based in Titirangi, Auckland with a Bachelor’s degree in Theology and a Certificate in Fine Arts from the Manukau Institute of Technology in conjunction with Elam Art School of Fine Art.
Dyer was born in Auckland in 1962 with congenital heart disease and termed a ‘blue baby’. Having pioneering heart surgery at six years old, a near-death experience, and going through his schooling years dyslexic have significantly impacted his life, experiences which also shape and fuel his creative practice.
Living in Titirangi, Dyer is influenced by artist Colin McMahon’s work, who was inspired by the same region during an important period in his career. Among others, Dyer is also influenced by the emotive gestural abstraction of expat New Zealand artist Max Gimblett.
Dyer’s first art exhibition was in 2001 at the Titirangi Art Gallery. His career now spans over three decades and his works are held in private collections around the world.
Dyer is particularly interested in aspects of social justice, history, politics, human behaviour, spirituality and bicultural identity. He states:
“My work is concerned with human survival and considers where humans fit in the chain of being, asking who we are and where we might be going.”
Te Tiriti o Waitangi Maori- The Treaty of Waitangi
This is my interpretation of two cultures coming together around a table of good faith suspended by the grace of God in between two puna trees , ” silver ferns.” On the center of the table is the flagpole at the Treaty of Waitangi grounds where the signing took place on 6th February 1840. The two flags are the stitching at the hip for a partnership moving forward. Also on the table is the power of the feather pens ink and the cross represents the introduction of Biblical stories. The backdrop is our landscape Mountains , rivers, native birds and forena. The Mountain represents both the North and South island and the rivers at their Mountain’s feet. The native birds are the Môhua found on the hundred dollar note and the native flacon on the twenty dollar note. The Jug , candle and image God in the left corner are relevant to pioneering times and an influence from New Zealand painter Colin Mc Cahon.
Acrylic/Mixed Media on Canvas – 150cm x 100cm
Kate Sheppard – The granting of the vote to women in NZ 1893
The work represents Kate Shepherd signing the founding document for the right of women to vote in New Zealand. The burning match is symbolic as a light , fuel , and heat pressure for change for women’s personal liberties knighting a consuming fire for equality as an historic moment in New Zealand/Aotearoa history and a first in the world.
Acrylic/Mixed Media on Canvas – 150cm x 100cm
It’s Differ-Quit Being A Genus
The Sleeping Shepherd a painting from 1865 was my inspiration for the struggling Artist I termed its difficult being a genus. Alone with his thoughts and misunderstood he feels like giving up. Being over sensitive he runs away to find Solitude in being alone. With his eyes closed he feels he can escape from the rejection and finds some comfort.
Acrylic/Mixed Media on Canvas – 150cm x 100cm
The finding Of Moses
The finding of Moses is my interpretation of a different perspective found in Art history responses. The Art work is personal to me being born with congenital heart disease complications from birth. The image is like me just surviving as a blue baby and the blanket is not my comfort. I am seeking something deeper. Intimacy matters more. My outstretched arm reaches out to a God who nurtures and feeds us at the right time. The breast is symbolic of a God who rescues and sustains.
Acrylic/Mixed Media on Canvas – 150cm x 100cm
The 28th Māori Battalion
This work is inspired from an old photograph of the 28th Māori Battalion leaving for war on the 2nd May 1940. Image shows a mother hugging her son good buy. Alongside this we see soldiers marching to their death. The empty prams are a pending fatherless generation. The Mountain is Mount Ruapehu and was a place of retreat after the war. The fan tail on the hat is often associated with death in Māori culture.
Acrylic/Mixed Media on Canvas – 150cm x 100cm
Whanganui River
I just had to paint this work, it captivated me with the torma in an old photograph of a young Māori girl in a waka dressed in colonial clothes. The upside down falling tui ,with its claws over her head, is the cry for who I am becoming. The Māori world is turning upside down and the ancestors cry out in grief for an uncertain culturally identity that’s been difficult to navigate as history foretells.
Acrylic/Mixed Media on Canvas – 150cm x 100cm
Verily Verily I say Unto You
Monwaga was this Māori to go to England and the works about the interruption of change ,trust and adventure. The attached historical scripture on the work writes verily verily I say unto you . Its a call and invitation of new beginnings of a historical interjection that takes place.
Acrylic/Mixed Media on Canvas – 150cm x 100cm
The Lady With The Golden Arch
This work was inspired from art history as the the women been waiting for her husband to arrive from sea . Only to discover he had died and did not return . The Golden Arch is the hope that they will meet again in the next life .
Acrylic/Mixed Media on Canvas – 150cm x 100cm
It’s Written On The Scroll
This is a interesting art work with a prophetic message and some imagery from art history. The two containers represents two different worlds one the kingdom of heaven and the other our broken world. The outstretched arm is grace and mercy to the broken world. Its very changeling art work and it requires much thought as it demands contemplation.
Acrylic/Mixed Media on Canvas – 150cm x 100cm
I Can’t Go On
Loss and Grief comes to all of us in life often in unexpected times. This anguish and emotion is often to devastating that words fail us . This art work is honest about being human with matters of the heart. It is far reaching with covid 19 times, Cyclone Gabriel floods, Wars, Climate change, Unfaithfulness, Injustice and lose of relationship in death. Yet in spit of this hope can comfort us.
Acrylic/Mixed Media on Canvas – 150cm x 100cm
Land March – Whina Copper
My art work of Whina Cooper is best known for her famous land March 1975 from Te Ha-pua ( in the far north ) to Parliament in Wellington. It marked a new era of protest and reform, organised by Maori groups.
On arrival at parliament October 13 about 5000 marchers presented a Petition signed by 60,000 people to the then Prime Minister Bill Rowing, Whina Cooper was 79 years of age.
Following on from this in public life she told an international audience “ that the treaty was signed sothat we could all live as one nation in Aotearoa “
Whina Cooper died at Hokianga in 1994, aged 98.More than a million people watched the live television broadcast of her tangihanga (funeral )
My artwork representation of the photographic image is very different to the original. With a changed landscape perspective and the young child’s head is looking straight ahead alongside this the Whina Cooper image proportion is must greater.
In good conscience I have tried to capture the spirit of the image to honour the legacy of Whina Cooper. The art work is about having a dream and hope for young and old, and that its never to late to walk forward to a new promised land in faith whereby bent roads off injustice can be made straight though courage of conviction, inspired by Whina Cooper.
The work framed in Toroa timber or Kari from Northland, would be very significant to the art works importance and respect for Whina Cooper legacy to live on in remembrance for future generations.
The medium is acrylic, on canvas, mixed media and schelac. The art work stands portrait 100cm wide and 150cm high.
Acrylic/Mixed Media on Canvas – 100cm x 150cm
