Deities and the daily grind explored in ‘Gods of Suburbia’

Dina Goldstein is known for making bold, provocative statements with her conceptual photography. In recent years, she received widespread notice and praise for two major pop surrealism projects, “In the Dollhouse” and “Fallen Princesses.” The first is an exploration of beauty, power and sexuality through images featuring the famous, too-perfect doll couple, Ken and Barbie. The second takes an ironic look at Disney princesses, imagining them in real-life scenarios that end in less than happily-ever-after fashion.

Now, the Tel Aviv-born, Vancouver-based Goldstein is exploring different territory. “Gods of Suburbia” is her visual analysis of the place of religion and faith in today’s world. In the tableaux Goldstein creates, she places central figures of religion, objects of millions — and sometimes billions — of people’s faith, in modern situations that highlight the points of friction between the messages and meanings of our gods and suburban lifestyles.

In an email conversation with The Times of Israel, Goldsten, 45, explains how in “Gods of Suburbia” she challenges viewers to think about how complex iconography affects the way people envision their personal god(s), whether we need religion to make us moral and good, and whether religion makes sense in modern society.

Your two most recent projects before this one focused on the subject of women. Why did you decide to deal with religion this time?

In my art practice I utilize recognizable and iconic figures. Previously it was Disney princesses and Barbie and Ken. With this project, I am using images of gods to bring attention to and provoke discussion about the human condition.

A running theme in my work is the question of how we define the concept of “good,” and how we live a “good life.” I have always had an interest in religion. As I received a Jewish education as a child, I was fascinated with the parables and fables of the Bible. As an adult and mother, I am now confronted with my two young daughters asking the more difficult questions about God, belief and tradition.

‘Having open conversations about how the universe began, who created the universe, and what happens after death are mostly taboo’

Religion is not the most popular topic at a get-together, because people hold what they believe to be sacred and holy, and this is not up for debate. Having open conversations about how the universe began, who created the universe, and what happens after death are mostly taboo — and for good reason, as there are so many different opinions and beliefs.

What is your own religious identity?

I am culturally Jewish and enjoy celebrating the holidays and traditions. I respect the rights of people to believe in and worship whatever gods they choose, even if I do not believe in a personal God myself. I mostly relate to Pantheism because of the great respect I have for the natural world.

What influence does your living in multicultural Vancouver have on your work, and on this project in particular?

Vancouver is indeed a melting pot, and living here has made it possible for me to befriend people living with many different belief systems. In Canada there is a sort of unspoken agreement that allows people to believe in whatever they want and live how they please. Religion is kept in the privacy of the home and community, or in a metaphorical “suburbia.”

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Do you feel you are making a single statement with all the photos in this project, or are you making individual statements with each of them?

As a cultural critic of sorts, I am interested generating a rational conversation about religion and the role it plays in modern society. By placing each supernatural character in a real life environment, I attempt to humanize them and explore more practical issues. There is a central message that splits of into many parts.

For instance, Lakshmi, the Hindu goddess of beauty and wealth is a perfect example of how women today shoulder the responsibilities of home and work. Ganesha, the remover of obstacles, easily recognizable by his elephant head and human body, embodies my personal experience as an immigrant to Canada. With Satan I question what counts as fair within society today, and Xenu scrutinizes those that interfere with free thinking.

One can read in to your photographs a sense of frustration and pessimism about religion in modern western society. Do you have any positive thoughts about the place of religion in life today?

I believe that religion often unites communities and gives many people a purpose or answer for their existence. The stringent rules of most religions often provide those that tend to stray from “good” behavior a moral compass, and this is comforting to me as an observer of human nature.

‘I do often question why ancient doctrines have been excused from scrutiny, rational thinking and scientific evidence’

The separation of religion and state throughout the western world has allowed more and more people to live a secular lifestyle without judgment. However, despite the forces of technology, science and medical breakthroughs, fundamentalism and Puritanical faith is on the rise.

Thousands of years of religious warfare have proven to be divisive and brutal. I do often question why ancient doctrines have been excused from scrutiny, rational thinking and scientific evidence. Is this sustainable going forward?

You do staged, or conceptual photography Can you say a bit about why you like this art form? Does it allow you to express yourself in a way that other photography genres don’t?

‘I have always felt that my experience as a documentary photographer has informed my conceptual photography both technically and creatively’

I have been a photographer for over 20 years. I started out as a photojournalist and editorial photographer. I spent time in Gaza and the West Bank documenting Palestinians living in refugee camps. I have always felt that my experience as a documentary photographer has informed my conceptual photography both technically and creatively. From my more candid work, I have learned that spontaneity and a lack of control are sources of inspiration.

My practice today involves large-scale tableau series that take approximately two years to complete. Many of my pieces require a sizable crew that involves a makeup team, costumers, set builders, assistants, and a digital team. Overall I am working with a restricted budget (I was granted a small amount from the Canada Council for the Arts for this project) and depend on print sales from my previous collections to be able to continue producing new work.

This lean towards pop surrealism has altered my visual language, which is defined by narratives, use of symbolism, dark humor and subversive messaging.

In what ways was creating this project similar or different to creating your previous ones?

As with all of my other series, 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 I work with local actors and performers… I strive to find the right locations and there is always the disappointment of it falling through for one reason or the other.

Ganesha (Hindu god) (photo credit: Dina Goldstein)

Is there one particular image in the series that moves you the most?

Each piece represents a complex concept that is based on my ideals or experiences, so in that regard, it is difficult to choose a favorite.

I did inject a personal and painful memory into the Ganesha piece. As a new immigrant to Canada at the age of eight, I did not speak English, and even though I was not a visible minority, I was subjected to bullying. After a year of suffering in silence (back then we didn’t talk openly about this), my parents enrolled me in a Jewish school. The rejection and isolation that I experienced in public elementary school remained even while I was in a school full of Jewish kids.

Growing up my identity was split equally as a Canadian and an Israeli. I felt as though I never fully belonged to either place, a common reaction of immigrant children. I have placed Ganesha, the Hindu god and the remover of obstacles, on that bench in the schoolyard to illustrate my personal experience.