MARK RUSIC'S BIOGRAPHY
Madura Island, Indonesia 1991: This photo I took shows my uncomfortable beginning. As you can see, they loved and embraced their racing cows—but loving foreigners like me took time.
My journey began in Melbourne, my place of birth. By 1990, in my mid-20s—with an engineering degree and two years in the field, including time at BHP, under my belt—I embarked on a move to Indonesia. I knew I had to be ready for the uncomfortable. There, I adapted quickly, learned Indonesian and a local dialect, and spent five immersive years involved in business, trade exploration, and ministry, mingling with the poorest of the poor in obscurity to the upper echelon-elite—from sitting with Elders of Indigenous communities across the archipelago to Indonesian business, government, and community leaders. In those circles, I learned a powerful truth: that trust and influence are forged wherever you are, through identification, active listening and quality giving, shared purpose, kindness, and passing through the fires of testing—made possible with heavenly enlightenment.
I returned to Australia—now Indonesia had become a comfort and delight. Though I had gone there to change it, I realized it had changed me: I married a lovely young Indonesian woman
locally, whom I love deeply till this day, more so as I near our 25th wedding anniversary, now with three children.
My commitment to human investment then spanned 28 years mainly across diverse Asia-Pacific communities based in Australia from 1995. This career was defined by a 22-year tenure as a full-time pastor, where my focus was intensive, hands-on mentorship and preaching with relevance. I walked alongside people from all backgrounds—often guiding them through complex life transitions and hurdles—to help them restore their identity, sense of worth and realize their unique potential.
One day in 2013, a marvellous turning point arose: I stumbled across the path of some
Aboriginal leaders of national stature. A dream for my nation Australia was awakened—the seed of reconciliation. Bonding was immediate and led me to start sitting with elders again, visiting and speaking in Indigenous communities across the nation annually to this day. History was repeating itself, but now with a sense of arrival.
One attribute I admire is the ability to see beyond the mud and misconceptions to the intrinsic
brilliance and capacity of every person and culture—to see the goldmine, not the dirt that
surrounds. Today, government policy is facilitating unprecedented Indigenous economic
development. It does far more than just create business opportunities, releasing a profound
goldmine of ancient identity, voice, and cultural wisdom birthing unique modern-day
contributions and partnerships. We are seeing this emerge through land management, food,
medicine, the arts, and so much more.
But reconciliation involves restoration, and it is two-way—requiring the building of meaningful
bridges of understanding. Throughout my career, as a creative at heart, I have applied a
restorative slant to my toolkit: from motivational speaking and mentoring to painting with Van
Goghian style, photography, and poetry—later expanding into authorship and, more recently,
songwriting and singing—as a tonic to capture and draw out potential while solidifying
connection. My work translates decades of lived experience into a multi-dimensional
advisory—from inspiring the next generation through diverse community and educational
platforms to stewarding local arts in the CBD and developing immersive tours at Iconic
Melbourne.
And as I serve as Senior Advisor to Jaramer Legal—the first national Indigenous law firm, established as a JV to the globally renowned NRF—my primary mission remains to foster a reconciled, unified, prosperous and mature Australia. I see our nation with a restored Achilles heel, as a tree branch unknotted —allowing it to become an economic powerhouse in so many industries—becoming our greatest asset—not just for Australia but for economic reforms for Indigenous people world-wide; we see a small beginning in Asia-Pacific not to be despised: Now. Helping individuals and organizations discover, define, and unleash their true colours. That’s the product of approximately 40 years of perseverance and investment into fellow human beings.
Mark painting Live at the Fist Nation Business Expo, Melbourne Exhibition Civic Centre. Opened by the Lord Mayor of Melbourne, this live session utilized Jiga Jiga Paint—Australia’s first Indigenous paint company—to create a signature Reconciliation themed artwork. As the Jiga Jiga Paint Ambassador, Mark led this demonstration to bridge and envision restoration on a national scale; hence the imposing presence of Uluru, and the "unknotting" branch revealing a restored, united and prosperous Australia-featuring the Wagtail, the Jiga Jiga Paint symbol of connection.
ARTIST STATEMENT:
I continually have people of all ages, backgrounds and nationalities, tell me my art is "Van Gogh like" till this day—it’s been continual and growing—but I don't even blink an eye-lid. Indeed, his life and techniques provided an acute impetus for my work. But, though I honour him—its not really about him per se. There is zero idolisation for me. I don't see a frivolous, petty man—one I can admire greatly.
What I do see is the one who painted Starry Night, the awesome heavens—the God-vision behind it—further, to a destination in his artistic journey he longed to reach.
In July 1880, he declared this great intent as an artist; Vincent wrote: “To try to understand the real significance of what the great artists... tell us in their masterpieces, that leads to God.” When the door to his pastoral ministry and preaching closed he spent himself tirelessly to proclaim biblical truth through canvas. His life seemed to end like a flower that wilted before the harvest.
But, wilted flowers still carry abundant seed to drop. He had laid down his life, gave his all to be the salt and light Jesus spoke of. That was the whole point of making effort to highlight the seeds in certain of his sunflower paintings; this is Truth—more truth is "ism." His derivative truth: The kernel must die first to bear fruit (John 12:24).
In doing so, he passed on a "Yellow House" vision: a mandate to spark a movement of artists who use the biblical narrative as a channel for the transformative truths today’s society starves for—a colony to help with the very cure to societal "decay" and "collapse" he spoke of. That continues today. This accounts for his utopia-framed paintings, his love for Japan, all foreshadowing entering the Kingdom of God. That explains the "why" behind his portraits like Père Tanguy.
But unfortunately, these days the world largely watches his works spellbound, yet clueless to what he was actually trying to do and say.
Truth be told, my movement is not truly new—Ecclesiastes says, “There is nothing new under the sun.” Vincent himself was inspired by a lineage of serious masters—ministers with a paintbrush for God like Rembrandt. But my focus is different. It is laser—it burns away all the mixed motives—to put it plainly, I am seeking to bring to completion what he and many originally intended.
For 25 years, I have been forging a successor to the Post-Impressionist lineage—my contribution to the arts: “Post-Impressionist Truthism.”
This movement is founded on the bedrock of Christ’s answer to Pilate: “For this reason I was born... All those who are on the side of truth listen to me” (John 18:37). Pilate asked, “What is truth?” but never followed through. I was once like that too, but that question and its answer is the root behind all my work—I have an unceasing fetish for that.
What does truth unveiled look like in this land? While inspired by the symbolic storytelling of NGV masterpieces, my key focus is hope and reconciliation. Knowing I am reconciled to God, I instinctively try to paint reconciliation—be it to varying degrees.
As government policy is helping lift the lid on self-determination, I use my art to strive for the unified, mature Australia now emerging. I see my role as a "Supporter-Catalyst," in the tradition of Reverend John Green supporting William Barak at Coranderrk.
Like Van Gogh, I engineer every aspect—colour, texture, and form—to provoke thought and contribute to nation-changing reforms, while my heart is for all of humanity at the grassroots—especially to encourage all who acknowledge Christ's present and eternal Kingship.
Every 'ism' bows to Him—just as every snake of Pharaoh's magicians was eaten by the staff-authorized-snake of Moses. And Christ was the bronze snake, raised up on the cross as in the book of Numbers—accused for us, in our place. That's divine love—He died for all—that's why Vincent saw the lowly high, and Gauguin better than himself.
This is the power of Post-Impressionist Truthism. Biblical Truth is the means to freedom. Art has the unique power to unlock communication where words fail. Without that Truth, we remain in a prison of our own making.
This video exemplifies Mark's artist statement: