The creative odyssey of Dina Goldstein unfolds over three decades, transitioning from photojournalism to an audacious exploration of narrative photography. Her oeuvre stands as a complex critique of societal norms, intertwining iconic cultural symbols and shared visual motifs with stories grounded in the essence of human condition. Dina’s artistry, rooted in the principles of surrealism, unveils the complexities of modern existence, questioning the dominant cultural narratives and the entrenched ideologies that shape our perceptions.

Initiated in 2007, Goldstein’s artistic venture, inspired by her personal reflections and a scrutinizing perspective on the conventional notions of ‘happily ever after’ propagated by Disney narratives and widely accepted in Western culture, delves into the reimagined lives of fairy tale princesses through her “Fallen Princesses” series (2007-2009). As a feminist and a mother to a daughter, she critiques the traditional depictions of femininity and childhood in Disney’s tales. Her portrayals of princesses dealing with contemporary issues such as illness, addiction, environmental crises, and warfare resonated widely, culminating in her receiving the prestigious Prix Virginia in 2014, an international accolade for female photographers, and showcasing her work in exhibitions across Paris, Quebec, and the USA.

Her next endeavor, “In The Dollhouse” (2012), reveals a narrative set in a meticulously designed, full-scale dollhouse where human versions of Barbie and Ken navigate through life’s vicissitudes. This series illuminates the absurdity of chasing after unattainable standards of beauty and perfection, and the intricate dynamics between appearance, authority, and contentment. It has gained international acclaim, featuring in the Frida Kahlo and Diego Rivera catalog by Musee D’Orsay and becoming a part of the FotoMuseo collection in Colombia.

With “Gods Of Suburbia” (2014), Goldstein ventures into the realm of religious iconography, portraying deities from diverse faiths grappling with the trials of contemporary society. This body of work offers a provocative view on the adaptation of age-old spiritual entities to the realities shaped by technology, science, and secular values, urging the audience to reflect on the enduring significance of traditional morals and beliefs in today’s world. The collection has enjoyed global recognition, especially “The Last Supper,” which garnered significant attention in Italy.