A P  A   R     T

DINA ROUDMAN

06.05.2022 – 09.07.2022

Alone with all of us 

“The world is in my head. My body is in the world.”

NOTES FROM A COMPOSITION BOOK, Paul Auster, 1967

The constructive process of the pictorial identity of Dina Roudman (Norilsk, Siberia 1991. She currently lives and works in Toronto, Canada) can be understood as an obsessive study of the feeling of belonging. It is in her biography where we can find details that speak about a person who feels strongly linked to all of us, and who, precisely for this reason, is able to observe us from the outside. Her gaze is part of our reality, but at the same time it is apart of it.

The spirit of Dina Roudman confronts this need to belong to the world with the need to analyze from the outside all the tensions that contemporaneity offers to her. With this constant tension she gives us back an artistic activity with multiple aspects, from body expression to pictorial abstraction, passing through the figuration of the photographic and audiovisual image.

Dina Roudman’s professional career has led her from a very young age to propose her body as a fulcrum on which all her artistic activities pivot. On one hand, her body is an artistic object when it serves others for her expressive objectives. In those cases, she collaborates with the creative worlds of others, offering everything that her body can express to be part of them. In turn, at a certain moment, Dina needed to look at the body of others for her own expression and she made the decision to use photography to place herself in the place of observation without being part of the final image.

All that figurative artistic activity that the photographic and cinematographic image supposes is what we will not see in this exhibition.

“A    P   A  R T” is the first major solo exhibition of Dina Roudman’s pictorial work in Europe. In her painting, Dina once again puts her own body at the center of her expression, offering it to the act of painting and to the viewer as a simple tool that generates intimate places that are built on the canvas to be lived and inhabited by others. Painting is usually a solitary act, a performance apart from the outside world that in the case of Dina Roudman becomes (thanks to a beautiful contradiction) a shared place from the very starting point of the blank surface. We are talking about canvases that cannot be of a small format, since they have to house Dina’s body in its entirety. That is why they have a human scale and that makes them places that we feel welcoming.

Her works are rooms where Dina has generated with her own skin worlds that she invites us to live. There is no hermeticism, there is inclusion and belonging, although they are created apart from the world and from all of us.

Dina fearlessly offers her skin on each canvas, facing possible selfish looks on her, because she knows that her generosity will never be violated by those who deny the future to the female body. Dina Roudman is representative of the brave woman, but that is not why we should think of her as a visionary. What moves her is her expressive identity, created apart from us but of which we will in turn become an active part at some point in the artistic process: during the creation of the work as a group or once it is finished. This open-mindedness makes the artist constantly open to any outside influence, without prejudice, without unwavering positions. Her work on the canvas only needs to be perfect in its expression and if that to happen she has to make room for others, Dina will receive that idea naturally and include it as her own. We can say that her painting expands unexpectedly on the surfaces, and, in turn, our gazes are flooded with her compositions as if they were our own.

Finally we can find more realism in her abstraction than in her fictional photographic work. Her pictorial expression speaks to us of realities that concern us all. An inclusive gaze that paves the way for us to participate in her work, whoever we are and wherever we come from.

Goyo Villasevil, April 2022