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The Big Idea #1: SCATTER ART - For the first time, Dina put down the torch to push her vision of aesthetics and question the need for permanence in art.
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The Big idea #2: FRAMES - Playing with triangles, quadrilaterals and pentagons, Dina created picture frames only to burst through with expressive and barely contained relief sculptures
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The Big Idea: INSTALLATIONS - With this room-sized installation, Dina focused further on the viewer experience, creating a kind of maze. While the raw appearance evoked both junkyards and slaughterhouses, Dina saw things differently, romantically naming it after the Hanging Gardens of Babylon, one of the 7 marvels of the ancient world~
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*Fun Fact: Evidently when an insurance adjuster decides that a car should be scrapped, they write TRASH (or even FREAKIN’ TRASH YO) on a fender. Dina loved putting these pieces front and center, letting the viewer know that she was in on the joke—was her own art trash or treasure??
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The Big Idea: GEOPOLITICS & ART - Dina was a news junkie, and as an Israeli American, extra sensitive to news from the Middle East. That, coupled with her environmental awareness, led to Black Islands— Three site-specific ‘islands' of rolled and painted fenders sitting on beds of rubber sheeting, and finally splattered expressionist-style with liquid rubber.
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NEW WORKS ON PAPER
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The Big Idea: The rolled metal shapes of Black Islands inspired another application—rolling paper, especially torn drawings and watercolors that Dina made in the early 1980’s. There was a little Lee Krasner in the gesture—recycling her own earlier work in new compositions, but executed in 3-dimension and in dialogue with the metal Islands.
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Dina and her son John pose next to her welded assemblage "Black Earth #1" at the exhibition New Acquisitions at Woodmere Art Museum.
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In 2012 Dina created her final body of work, “Workbench Conversations”. They were made out of cast and scrap aluminum, a new material for Dina, and one which, like Stainless Steel, worked best when welded to itself. Dina was inspired by Jim Dine in her recasting of old tools, but then added her own voice through the mix of found objects and overall abstract compositions.
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THINKING BIG: THE FINAL DECADE: Dina in the 2000s
Current viewing_room
