Dina Belaia, BFA, Active FCA member
firstname.lastname@example.org • www.belaia.com
Dina started her visual art training at an early age while living in Russia. As a teenager she joined the Analytical Art Studio, and still follows this school and artistic method after 30 years. In Canada, she continued her studies and graduated in Visual Arts from York University. She works as an illustrator and graphic designer and even a face/body painter, as well as a fine artist. Dina prefers drawing with pencil to any other media, although occasionally opting for painting and digital imagery.
Selected Art Shows (By Application and Juried)
• Disrupting/Undoing, OCAD University, Open Gallery, 2013
• Dina Belaia — Solo Show, Deer Park Library, 2013
• Various Themes, Artisans at Work Gallery, 2016, 2017 (Not Juried)
• Shades of Ability, Floral Hall, Toronto Botanical Gardens, 2016
• Shades of Ability, Commerce Court, 2016
• Shades of Ability, Floral Hall, Toronto Botanical Gardens, 2017 (Winner — Best Oil, Best Drawing)
• Snowflakes Show, Yellow House Gallery, 2016, 2017, 2018
• Drawing, John B. Aird Gallery, 2017
• You Have To Take Stairs, Zebra Public Art Mgmt., 2017
• Festivus Show, Northern Contemporary Art Gallery, 2017
• Dina Belaia — Solo Show (34 pieces), Cedar Ridge Gallery, 2018
• Annual Art Show, Central Connection, 2015, 2016, 2017, 2018, 2019
• Art Olympia Competition, Tokyo, Japan, Honorable Mention, 2019
• 20×20 Art Exhibition, Christine X Art Gallery, Sliema, Malta, 2020
• Art as a Response to Mental Health, Doncaster Art Fair, UK, 2020
• Painted Poetry, Art Nova Gallery, 2020 https://www.artnova.
• Ordinary No Ordinary, Tall Sequoia Gallery, 2020
• Life on the Line, Mental Health Awareness Campaign 2020, artwork posters in Toronto Subway
Twenty Twenty Art
• Open National Juried Exhibition, Federation of Canadian Artists, 2020
Online FCA National Show
Dina’s drawings and paintings follow the school of Analytical Abstractionism (see www.analytical-art.com).
It employs a process of non-programmed creating forms from particular to whole, analysing the appearing image rather than synthesizing it. Try to understand not what, but how it is done.
Be interested not in the face of the clock, but in the inner mechanism to understand progression of time.