Artist Dina Broad­hurst con­quers In­sta­gram.

Harper’s Bazaar (Australia) - - Contents -

SYD­NEY-BASED MUL­TI­ME­DIA ARTIST and in­te­rior de­signer Dina Broad­hurst’s lay­ered pho­to­graphic col­lages are heav­ily themed around beauty, sex­u­al­ity and women’s body is­sues; her sig­na­ture erotic im­ages made chaste with strate­gic place­ments of cheery flow­ers, block colours and stars. The works — lay­ered and ma­nip­u­lated us­ing Pho­to­shop, col­lage and all kinds of medi­ums, from paint to street rub­ble — are in high de­mand, es­pe­cially the much-talked-about (in the bath­rooms at fash­ion week) lim­ited-edi­tion Ladies in Wait­ing.

“It’s def­i­nitely young women buy­ing my work,” Broad­hurst says, adding, “I’ve had women call me and say, ‘I just got my set­tle­ment money through from my di­vorce and I want one of your works … and a Chanel hand­bag.’” The artist is also work­ing on var­i­ous big projects with in­te­rior de­sign firms and re­tail stores, along with a three-me­tre com­mis­sion for an of­fice space in Syd­ney’s Martin Place.

The sur­pris­ing en­abler be­hind Broad­hurst’s suc­cess has been In­sta­gram. In four years it has trans­formed her art busi­ness. “In­sta­gram changed ev­ery­thing,” she says. “I could sud­denly make a vis­ual gallery and peo­ple started con­tact­ing me. It’s been a ma­jor force — it made me brave. I can put things out there that I would have just packed away at home. I re­ally thought In­sta­gram would lead peo­ple to my shows, but it’s the op­po­site: art shows led peo­ple to my In­sta­gram.”

Broad­hurst is a pro­lific cre­ator and tries to make a new work daily. “My rou­tine is break­fast at Fratelli Par­adiso [in Potts Point], to do my emails and de­cide which pic­tures I’m go­ing to put on In­sta­gram that day, and then I will go to a site and do an in­te­ri­ors job for a cou­ple of hours, and then head

home into the box that is my stu­dio — a hor­ri­ble mess. I need dark­ness for re­touch­ing im­ages. then I’ll be off to an­other in­te­rior job for a cou­ple of hours and then I have my son, Leo [10]. We spend the af­ter­noon on the road do­ing the prac­ti­cal side of art, like go­ing to the post of­fice, sign­ing prints and tak­ing them to the framer. He loves it and he’s very cre­ative too.”

Broad­hurst is cur­rently work­ing on two books, solo and shared ex­hi­bi­tions and some large-scale col­lab­o­ra­tive works. A pub­lished col­lec­tion of nudes comes first, though. “i wanted to use more real women and I was search­ing for a beauty that they didn’t think they had — a re­served beauty. So I went onto Tin­der as a woman look­ing for women and ap­proached peo­ple that way. So many peo­ple re­sponded. I was shocked that they were so free and open to the idea.”

But pos­si­bly the most ex­cit­ing of her new projects is the de­vel­op­ment of an app that al­lows users to cre­ate Broad hurst style col­lages us­ing their own im­ages. But why would she share such hard-earned cre­ative know-how for all to use? “Well, it just couldn’t be the same,” she ex­plains. “some­times things look very sim­ple that are so hard to ar­rive at. It’s not as sim­ple as it looks.”

View Dina Broad­hurst’s work on­line @dinabroad­hurst.

“I’ve had women call me and say, ‘I just got my di­vorce set­tle­ment and I want one of your works … and a Chanel bag.’”

Ev­ery Rose Has Its Thorn, 2016. Back­ground: The Plea­sures of Be­gin­nings, 2016.

If You Change Your Mind by Dina Broad­hurst, 2016.

Hid­den Beauty, 2016.

Cham­pagne On Ice, 2015. He Said So,


Her­bi­vore, 2016.

I’m Here Even When I’m Here With­out Her, 2016.

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