You know that you have been pulled into Dina Goldstein’s artwork when you noticed that there is something elementary wrong in the innocent, cute and beautiful photograph that you have in front of you. Indeed, the photographer’s humorous cult images are inspired from Western pop culture, only to reveal sad realities of the human condition. She re-imagines Rapunzel with cancer, a headless Barbie girl or a Buddha working at Whole Foods,..

Dina executes and manipulates the narrative with incredible ideas that divert from the original myth.

All your series – “Fallen Princesses”, “In the Dollhouse” and “Gods of Suburbia” – have in common to invert the classical image of moral transmissions given either by the myths, the consumer products or some masterpieces. How did you come up with the idea and which message do you want to deliver?

Surrealism mines dreams and the unconscious, while popular culture is concerned with surface and commonplaces. This art practice often has a sense of humor – sometimes the humor is colourful, joyful, and sometimes dark, mischievous and sarcastic. This lean towards pop surrealism has altered my visual language which is defined by narratives, use of symbolism, dark humor and subversive messaging. My work analyzes the human condition, interpreting new and clichéd notions of beauty, gender, sex and religion through the lens of pop culture.

Photography as an art form transcends cultural borders and has the ability for quick communication. Within one frame or a series I attempt to create a narrative that relays as much information as a book or movie. This is always my challenge. Sometimes the message is delivered quickly and makes an instant impression and other times the image requires further research and deeper involvement.

My current photography practice examines pop culture within modern society and by utilizing recognizable/ iconic figures like Disney princesses, Barbie and Ken, and images of Gods, I attempt to bring attention and to inspire insight to the human condition.

Fallen Princesses challenges the notion of ‘happily ever after’ and creates metaphor out of the myths of fairy tales, forcing the viewer to contemplate real life: failed dreams, obesity, addiction, obesity, Cancer, the extinction of indigenous culture pollution, war and the fallacy of chasing eternal youth. By embracing the textures and colors created by Walt Disney, which built a multi-billion dollar empire exploiting these fairy tales, Fallen Princesses exposed the consumerism that has negated the morality of these ancient parables. It also begged the question, "How do we define the concept of ‘good’ and how do we live a ‘good’ life?”

In the Dollhouse breaks down the perceptions of ‘perfection’. We see that perfection is not stable, as the idealistic relationship of the most popular pink plastic dolls comes to a tragic end. The series is a 10 part sequential narrative that unfolds within a custom built human size dollhouse. After decades in an imposed marriage I re-imagine the iconic couple finally facing the problems within their marriage as Ken finds his authentic self and ‘comes out’, while Barbie has a nervous breakdown and looses her identity, her hair, her confidence, her hope and even her head.

Gods Of Suburbia offers an iconoclastic interpretation of how ancient belief systems fit with technology, science and secularism, the three main pillars of modernity.

My initial ideas are mostly instinctual, and inspired for a subconscious place. When I see potential in an idea I take the time to study and review the subject. When I make the decision to move ahead with a project I introduce the idea to Jonas or another trusted friend and stay open to constructive criticism. Making a decision to proceed is a huge commitment, as my projects take upwards of 2 years to complete, and I don’t release the images individually.

I try to come up with rough concepts for each piece before the start of production. I want a clear ‘big picture’ so I can continue with a vivid vision with a semi practical budget. My first priory is to find the right person to portray the lead character of the piece. This process can happen quickly or may take months or even years. I tend to do a lot of street casting and/or work with local actors and performers. The circumstances are always different but somehow seem to work out at the end. I am working with tiny budgets and each time have to find a way to bring people on board and get them excited about something that doesn't exist yet. Sometimes I loosely draw out my concepts or work with a story board artist (as I did for In The Dollhouse). I assemble my crew and consult with my creative team, that is made up of makeup & hair artists, costumers and prop builders. Many of the costumes and props are fabricated by local craftsman and artists.

l methodically scout out locations, as these will become permanent backdrops for my conceptualized scenarios. There is usually a lot of red tape that has to be dealt with in preparation, (all this keeps the studio interns busy on the computer and phones). Many of my set ups involve elaborate sets with crews largely made-up of photography and art students, as well as volunteers from all walks of life.

To prepare for the shoots I shift focus to the tiny details. The collection of furniture and knick knacks, which I hand pick, play an important role in the telling of the story. Prior to the shoot day I meet with the actors to discuss character and give them some clear direction. I usually photograph 2 images over a weekend. I revue the shoot and the files and make decisions for post adjustments. I may have to reshoot or add an element that will help shape and complete the image. I work with a dynamo post team, that despite my limited budgets and huge ambitions, can make anything possible!