Before moving to Sydney in 1981, Antoni Dyga experimented at his Cracow based “Mini Art Studio” and later became managing supervisor of the art atelier of “Groteska” mask and puppet theatre. In Australia, he studied at the East Sydney Tech School of Art and Design, worked at the UNSW Department of Drama, at the Rune Theatre with William Farrimond, and in the architectural model making industry with Phillip Cox, Bruce Webb, Industrial Illusions and Archimages. He is a member of the National Association for the Visual Arts, the LC Art Society and he continues to exhibit his work locally and overseas.

Reviews

Dyga … being both an artist and a craftsman and one whose work is marked by both idealism and meticulous care … the images created in his productions were at once both powerful in their effect and extraordinarily economic in their means.­
– Robert Jordan (Professor of Drama, University of New South Wales, 1984)

Anthony Dyga’s work … is the theatre of poetry, a dynamic montage of images from somewhere behind the mask of face and body … often reminiscent of the metaphysical struggles of individuals in the literary world of Dostoyevsky or von Kleist.
– William Farrimond (Director, Rune Theatre, Sydney, New South Wales, 1984)

Anthony Dyga shows black and white plaster paintings … in what must be the cleanest and purest pieces of semi-abstract drama around …
– Elwyn Lynn (The Australian November 1985)

Dyga’s controlled, sculptured painting blends the tragic emotion with lyricism in a strange, silent symphony.  There is drama in that silence which is poignantly Polish, and there are touches of simple, warm compassion, and moments of peaceful contemplation which transcend the frontiers.
– Maria Kreisler (Theatre Studies, University of New South Wales, c. 1984)

It is difficult to put an unequivocal label to his creative efforts because he uses a variety of artistic techniques, predominantly expressing his ideas in the visual art rather than in painting alone … he explicitly tries to overcome the limits of a picture frame … Dyga shows this in a very personal way reminding us about our transient lives locked between the two extremes of birth and death. As in real life, time in his works simultaneously comprises of the beauty and cruelty of human experience.
– Ewa Siwińska (Exhibition review, Holsworth Gallery, 1984)

The artist’s work defies any static categorisation through the use of various creative techniques of visual art, not just painting … Time in the artist’s work is existential, illustrating the human condition in a world of birth and passing.
– Danuta Gabszewicz, Wiadomości Polskie (translated) (1984)