There’s an image you’ve probably seen without knowing her name. A woman draped in flowers, face obscured by a perfect white orchid, reclined in a poolside chair with the energy of someone who’s entirely comfortable being both seen and hidden. That’s Dina Broadhurst’s world — gorgeous, deliberately alluring, and quietly asking you a question you can’t quite answer.
Dina Broadhurst is one of Australia’s most recognisable contemporary artists. She works in mixed media, collage, and photography, producing large-scale prints that have found their way into Sydney’s trendiest homes, shopping centre facades, luxury brand campaigns, and international art fairs. Her dina broadhurst biography is one of those stories that doesn’t follow a straight line — and that’s exactly what makes it so interesting.
Who Is Dina Broadhurst? A Quick Introduction
Dina Broadhurst is a Sydney-based Australian artist, photographer, and collector born in 1977. She’s best known for her striking photographic collages that blur the lines between fashion photography, fine art, and digital design. Critics, collectors, and collaborators have described her work as “an orgy of simplicity” — which sounds contradictory until you actually see what she makes, and then it makes complete sense.
She’s not just an artist who makes pretty things. Her work carries a genuine undercurrent — exploring desire, identity, femininity, luxury, and the curated masks we wear for the world. She’s collaborated with global names including Mercedes Benz, Vogue, Tom Ford, La Prairie, and Harper’s Bazaar. And she’s done it largely on her own terms, building an audience through Instagram long before the traditional gallery world came calling.
Early Life — Growing Up in Sydney’s South
Kangaroo Point Childhood and the Making of a Creative Mind
Dina grew up on a waterfront property in Kangaroo Point, just south of Sydney in the Sutherland Shire. By all accounts, it was an outdoors-focused childhood — beaches, sunlight, wide open space. The kind of upbringing that plants something in a person.
She’s spoken warmly about those early years, describing how the sun, the outdoors, and the natural world around her became permanent reference points for her artistic imagination. Even now, decades later, that connection to light, space, and the coastal environment of Sydney runs through her work in the warmest, most textured way.
As a child, she was already deeply drawn to making things. Collages, glittery cards, colourful stacked paper displays — she was always arranging the world into something more beautiful than she found it. Collage, it turns out, never left her.
A Mother Who Wore No Makeup and a World Full of Magazines
Here’s a detail that explains a lot. Dina grew up with a mother who wore no makeup and actively stayed out of the sun — a deeply natural, no-fuss woman. At the same time, Dina was surrounded by glossy magazines full of 90s supermodels: Christy Turlington, Stephanie Seymour, Kate Moss. That tension — between the raw, natural woman at home and the polished, impossible ideal on the page — planted the seed for everything she’d eventually explore in her art.
She developed what she describes as a “distinctly paired back yet luxurious” approach to beauty and style. Not fussy, not overdone, but definitely intentional. You can see that exact sensibility in her work today — it’s simultaneously glamorous and restrained.
The Art Teacher Who Changed Everything
Dina has credited a teacher named Miss Beare as the person who cracked open her relationship with fine art. Before that, making things was just something Dina did — a natural impulse, like breathing. Miss Beare made it personal, made it feel accessible, made it feel like something that could belong to her.
“It was always what I was drawn to in family friend’s homes or on holidays in new places,” Dina recalled in an interview, “but [Miss Beare] made it seem so personal and so accessible.” That shift — from passive appreciation to active creative ownership — was the beginning of a career that would take decades to fully arrive.
Education — Four Degrees and a Philosophy That Sticks
From Makeup Artistry to Fine Arts — Why Each Degree Mattered
Most artists have one formal training. Dina has four. That’s not just a curriculum vitae detail — it’s a creative philosophy. She holds a Diploma in Makeup Artistry, a Bachelor of Interior Design, a Bachelor of Visual Communications, and a Bachelor of Fine Arts (studied at COFA — the College of Fine Arts at UNSW).
Each one of those disciplines brought something different to the table:
- Makeup Artistry gave her an intimate understanding of the face, transformation, and the human desire to present differently than we naturally appear
- Interior Design trained her eye for space, proportion, and the way objects exist in relationship to each other
- Visual Communications grounded her in colour theory, layout, hierarchy, and how images guide a viewer’s eye
- Fine Arts gave her the formal language to contextualise everything she’d been doing instinctively
Together, they created a creative practitioner who doesn’t just make art — she engineers an experience. Every single element in a Dina Broadhurst piece is placed with intent.
How Her Multi-Disciplinary Training Shows Up in Every Piece She Makes
When you look at a Broadhurst work, you’re not just seeing a photograph or a collage. You’re seeing a makeup artist’s understanding of beauty ideals, an interior designer’s sense of composition, a visual communicator’s control over colour and contrast, and a fine artist’s awareness of what the image is actually saying. That layered training is invisible when you look at the work — but it’s what makes the work feel complete rather than accidental.
Dina Broadhurst’s Artistic Style — What “An Orgy of Simplicity” Actually Means
Mixed Media, Collage, Photography — The Technical Breakdown
Dina’s core method involves taking photography — both her own original shots and sourced found images — and combining them with digital collage techniques, painted elements, and dramatically oversized 3D objects that protrude from the flat surface of the work. Flowers burst from faces. Luxury objects float in water. A giant orchid replaces a head.
The finished pieces live somewhere between a fashion editorial, a still life, and a conceptual art statement. They’re printed large — often very large — which means they command a room rather than decorate it.
In her own words, she describes her process as constant and non-linear. “There is no real start and definitely no end,” she’s explained. “It is all a constant flow, all hours of the day from just seeing to feeling, finding, sourcing, scouring, piecing things together, thinking, analysing, creating, and making.”
Themes of Desire, Femininity, Sexuality, and the Polished Mask We Wear
The subjects in Dina’s art are almost always female figures — but they’re rarely faces. Flowers, objects, glitter, and foliage cover eyes, mouths, and bodies. That deliberate obscuring is the entire point. Dina is asking: what do we actually see when we see a beautiful woman? Do we see the person, or do we see the surface she’s presenting?
Her recurring themes include desire, sexuality, memory, escapism, fantasy, and luxury — but always with a question underneath them. What are we attracted to and why? What’s the difference between the raw, unedited version of ourselves and the perfectly cropped image we show the world?
It’s smart work wearing glamorous clothes. And the combination is exactly why it resonates so widely.
The 90s Supermodel Obsession That Runs Through Her Work
If you grew up in the 90s, you’ll feel something familiar when you look at her work. That era — the glossy magazine spreads, the minimalist luxury, the impossibly beautiful editorial photography — is baked into her visual DNA. She’s spoken openly about loving “90s minimal and simplicity,” and it shows. There’s a cool restraint to her colour palettes, a sun-drenched ease to her compositions, that channels exactly that decade.
Why She’s Been Called “Helmut Newton Meets Kim Kardashian”
That description — which appears on her own official biography — is a shorthand that actually works. Helmut Newton brought an unapologetic sensuality and power to fashion photography. Kim Kardashian turned the personal image into a global brand. Dina sits at the intersection: she makes work that’s overtly sexual and confident, but it’s underpinned by genuine artistic intent rather than just provocation for its own sake.
Iconic Artworks — The Pieces That Made Her Name
Ladies in Waiting — Her Most Recognised Work
Ladies in Waiting is the piece that most people who know Dina Broadhurst have seen first. In it, two lithe women in swimsuits recline in armchairs while enormous white orchids replace their heads entirely. It’s elegant, slightly surreal, and impossible to ignore. The work sold at auction in 2024 and remains the most searched, most shared, and most instantly recognisable piece in her catalogue.
Plastic Fantastic and the Luxury Object as Art
Plastic Fantastic features a pearl-pink Acne Studios bag floating in luminous emerald water. It’s technically a product image reimagined as art — and that’s the entire point. Dina has always been fascinated by the luxury object: why we desire it, what it promises us, and what it says about us that we want it so badly. Plastic Fantastic sits those questions in a beautiful frame and asks you to sit with them.
Golden Girl and the Golden Eye Series
The Golden Girl series and its offshoots (Golden Splash, Golden Eye, Black Rose) brought a warmer, more painterly energy to her work. Gold tones, sunlit skin, blooming flowers — they feel like summer distilled into a still image. These pieces performed strongly at auction in 2023, confirming that her market was deepening, not just broadening.
What Her Art Is Really Saying Beneath the Glamour
It’s easy to write off work this beautiful as decorative. But Dina is doing something more deliberate. Every obscured face, every flower-for-a-head, every luxury item floating in water is a quiet argument about identity, desire, and performance. She’s asking us to notice the gap between who we are and what we project — and to consider whether those two things will ever really meet.
Career Journey — From Instagram Discovery to Global Recognition
How Instagram Replaced the Traditional Gallery Path
This is the part of Dina’s story that matters most if you’re interested in how contemporary artists actually build careers in the 21st century. She didn’t start with gallery representation, critical essays, or institutional validation. She started with Instagram.
“I basically gained my audience through Instagram rather than the traditional path of gallery showings,” she’s explained, “opening up to a global audience more quickly and with a direct communication channel connecting me with buyers and commercial clients.”
That directness — artist to buyer, creator to collector, no middleman — gave her something traditional galleries couldn’t: freedom. She could show what she wanted, when she wanted, to whoever wanted to see it. And the audience that found her there was enormous. She has well over 366,000 followers on Instagram (@dinabroadhurst) and built that following through authentic, consistent, and genuinely beautiful content.
First Solo Exhibitions and the Westfield Breakthrough
Dina’s first major public exhibitions came in 2017 — two solo shows that established her as an artist capable of working at real scale. The first was a collaboration with Westfield Chermside in Brisbane, where she transformed the entire fashion precinct for three months. Floor-to-ceiling hoardings. Brand-specific artworks. Her signature style at massive scale. The largest single work measured over 40 metres in length.
The second was at The Galeries in Sydney, where she filled the ground floor’s grand laneways with her interpretations of Spring. Both exhibitions brought her art outside the gallery and into public everyday life — and the response was immediate. People stopped, stared, photographed, and shared. That was the point.
The Other Art Fair Melbourne and Art Basel Miami
These two appearances were significant for very different reasons. The Other Art Fair in Melbourne was a domestic validation — recognition that within Australia’s art world, she belonged in a curated, serious space. Art Basel Miami was international confirmation. Being selected as a guest artist for one of the world’s most prestigious art fairs — where collectors, curators, and gallerists from every major market gather — put her on a global map that Instagram followers alone couldn’t fully access.
A Career Built on Instinct, Not Industry Rules
What’s striking about Dina’s career path is how deliberately she’s avoided the rules. No single gallery representation, no critics’ circuit, no slow institutional build. She created work, shared it, and let the audience find her. And then she was selective about which brand collaborations she accepted — not every cheque is worth cashing, especially when you’ve built something genuinely distinctive.
Brand Collaborations — Where High Art Meets Luxury
Working With Mercedes Benz, Tom Ford, La Prairie and Vogue
The list of brands that have collaborated with Dina Broadhurst reads like a luxury goods catalogue: Mercedes Benz, La Prairie, Tom Ford, Vogue, Harper’s Bazaar, Superga, Wedgwood, Wella, Victor & Rolf, David Jones, Country Road, and Westfield. These aren’t just logo-and-licence deals. She creates bespoke artworks for these brands — pieces that carry her signature style while serving the brand’s visual identity.
For a luxury skincare brand like La Prairie, that means Dina’s vocabulary of beautiful female faces, desire, and surface perfection aligns naturally with the product’s world. For a brand like Westfield, it means transforming commercial spaces into something that makes people stop shopping for a moment and start looking.
What Makes Her a Brand Collaborator That Actually Works
Most artists who collaborate with commercial brands risk diluting what makes them special. Dina has somehow avoided that. The reason, she’s explained, is that she only accepts collaborations that feel organic — that allow her to create work that she’d be proud of regardless of the brand context. “I just try to find the time to make all these ideas that are just sitting in my head constantly,” she’s said, “so when that’s broken and someone approaches me for a collaboration, that’s when I get these little hits of ‘Oh, wow’.”
CASA Studio — The Home That Is Also a Gallery
The Story of the Historic Vaucluse Property
CASA Studio is Dina Broadhurst’s home and studio in Vaucluse, one of Sydney’s most exclusive eastern suburbs, perched above the harbour with extraordinary views. The property is a historic building that was, when she moved in, rough, run-down, and raw. She and her partner Max poured significant money and enormous creative energy into transforming it. The first thing they did? Spray-painted absolutely everything white. Walls, ceilings, doors, skirting boards — all of it, in pure white. A blank canvas at architectural scale.
How She Turned a Rundown Building Into a Creative Sanctuary
From that white beginning, the space was gradually built into something genuinely remarkable. The furniture is eclectic and movable — mid-century modern pieces, shearling armchairs, design objects collected together with Max as a shared passion project. Every room is designed so that it can be quickly reconfigured for work, for exhibitions, for brand activations, or for everyday family life. It’s a home that actually functions as a studio, a gallery, and an event space simultaneously.
Living, Working, and Exhibiting in the Same Space
CASA Studio represents Dina’s deepest belief about art and life: they shouldn’t be separate. “I love that they are one and I wouldn’t have it any other way,” she’s said about the work-life relationship she’s built there. The sunroom has become a second studio. The courtyard is a photography set. The living room doubles as a display space. Every corner is both functional and beautiful, which is probably the best description of Dina’s art itself.
Broadhurst Studio — The Next Evolution of Her Creative Brand
Alongside CASA Studio, Dina has developed Broadhurst Studio — an expanded creative brand concept that extends her vision beyond individual artworks. It’s described as a fusion of art and life, work and play, heritage and the present moment. It investigates how we live, what we surround ourselves with, and the daily rituals that become both creative acts and personal meditations. It’s the fullest expression of what she’s always been about: that art doesn’t live only on gallery walls.
Personal Life — The Woman Behind the Art
Son Leo and the Lessons of Motherhood
Dina’s son Leo was born from her marriage to Australian musician Nick Broadhurst. The couple later separated, and Leo has grown up primarily with Dina. He’s a teenager now, and she speaks about him with a kind of reverent wonder. “I feel like he teaches me, rather than the opposite,” she’s said — noting his adaptability, his confidence, and the way he’s navigated a childhood surrounded by art, creativity, and a constantly changing home environment.
As a mother, Dina has deliberately avoided pushing Leo in any particular direction. She keeps options available, exposes him to possibilities, and waits to see what catches his interest. “I want him to be not pushed in any direction. I just have everything available to him, and if he shows interest in something, I will facilitate that — but just naturally on his own.”
Her Relationship With Partner Max
After her separation from Nick Broadhurst, Dina found a new partner in Max — a man who, it turns out, shares her obsession with mid-century furniture, her eye for colour, and her commitment to building a home that reflects genuine taste. The two collect furniture together as a passion project and have built CASA Studio jointly. By all accounts, Max brings his own aesthetic gift to the space — particularly in colour and proportion.
Being Shy in a World That Demands You Be Seen
This is the detail that surprises people most. Dina Broadhurst — the woman who photographs herself nude, who shares bold, provocative self-portraits to hundreds of thousands of followers, who operates from a studio specifically designed to host events and brand activations — is, at her core, deeply shy.
She’s spoken about it with real honesty. “Being shy you often feel like an outsider or that it’s hard for people to get in and know the real me,” she’s said. Art, for her, became the solution to that problem — a way of letting people past the walls she usually kept high. “I realized that my art suddenly gave people that access to me that they hadn’t been able to achieve before in the usual social settings or friend relationships. They could get past the walls I usually held up high, through my art.”
That insight reframes everything. The bold images, the nudity, the unapologetic provocation — they’re not arrogance. They’re honesty. They’re what she looks like when the walls come down.
Her Take on Ageing, Body Confidence, and Living Unapologetically
Now in her late forties, Dina has spoken frankly about the experience of ageing as a public figure. She’s said “age is just a number” and that she feels better than she ever has — while acknowledging the challenge of navigating visible physical change in a world that moves fast and often prefers its women young. Her response to that pressure isn’t to resist or retreat. It’s the same as her response to everything: to document it, reflect on it, and eventually, probably, make art about it.
Artistic Influences — The Names That Shaped Her Vision
Andy Warhol, Jeff Koons, Richard Prince, Cindy Sherman
These four names appear consistently when Dina talks about the artists who’ve shaped her thinking. Warhol’s obsession with consumer culture, celebrity, and the mass-produced image feeds directly into her work with luxury objects and beauty ideals. Koons’ unashamed embrace of glamour and pop iconography resonates with her own aesthetic. Richard Prince’s appropriation art — the idea that a found image can become something new in a new context — underpins her collage practice directly. And Cindy Sherman’s exploration of female identity, performance, and the constructed self is probably the closest artistic parallel to what Dina does.
She’s also named Urs Fischer — the Swiss artist known for superimposing unexpected objects onto portraits of Old Hollywood icons — as a specific inspiration.
Sabine Marcelis and Jacquemus — The Modern Inspirations
Among contemporary creatives, she’s cited designer Sabine Marcelis for her mastery of shape, material, and ethereal simplicity, and fashion designer Jacquemus for his authenticity, his use of colour, and the way his heritage runs through everything he creates. Both of these names tell you something important about what Dina values: work that’s visually simple but emotionally complex, work where the creator’s identity is undeniable.
Fashion, Architecture and the City of Milan
Dina has described Milan as the most fashion-forward place she’s experienced — a city where the architecture and the fashion exist in the same register, equally concerned with beauty, structure, and the relationship between form and feeling. “I see high-end luxury fashion the same as I do sculpture,” she’s explained. “It is wearable art in many ways.” That’s not just an interesting quote — it’s the exact lens through which she makes everything she makes.
How to Buy Dina Broadhurst Art — Prints, Originals and Prices
The Difference Between an Original and a Limited Edition Print
Dina offers both original artworks and limited edition signed prints through her website and various gallery partners. Originals are unique, one-of-a-kind mixed media works — these are the pieces most sought after by serious collectors and command the highest prices. Limited edition prints are reproduced from her original works in strictly controlled runs, signed and numbered by the artist. They’re the more accessible entry point to owning her work without sacrificing quality or authenticity.
Where to Buy Her Work — Online, Galleries, and Auction
You can purchase Dina Broadhurst artworks through several channels:
- Her official website (dinabroadhurst.com/shop) — the primary source for prints and limited editions
- Citizen Atelier — an online gallery that stocks her prints, with prices starting from around $934 AUD
- These Fine Walls and Framing to a T — Australian art retailers that carry her editions
- 55MAX — currently the only UK-based gallery selling authentic Dina Broadhurst prints
- Auction platforms including Lawsons and others — for secondary market purchases
Auction Record Prices and Investment Potential
Dina’s work has appeared at auction through platforms tracked by MutualArt and Artnet. Realised prices have ranged from approximately $1,795 USD to $2,419 USD for prints and multiples, with Golden Eye, Black Rose (Golden) setting the 2023 auction record and Ladies in Waiting setting the 2024 record. While these are relatively modest compared to internationally established contemporary names, the trajectory is upward — and for collectors entering at this level, the value proposition is compelling.
Dina Broadhurst’s Net Worth and Commercial Impact
Dina Broadhurst’s net worth isn’t publicly disclosed, and she doesn’t trade on that kind of celebrity. But the commercial picture is clear enough from the outside. Her income streams include original artwork sales, limited edition print sales (through multiple retail channels globally), brand collaboration fees with luxury clients, private event hosting at CASA Studio, and licensing arrangements for her imagery.
The combination of a loyal and growing collector base, a robust commercial collaboration portfolio, and an internationally distributed print catalogue places her in a genuinely strong position for an independent artist working without traditional gallery infrastructure. She built it herself, largely through Instagram, and that ownership is worth something beyond the balance sheet.
What’s Next for Dina Broadhurst?
Dina has hinted at several exciting developments including a mural series installed at a Sydney commercial building, a personally curated solo show at CASA Studio, and a new product line she’s described as something she plans to put “a lot of heart and soul into.” Broadhurst Studio, as an expanding creative brand concept, also suggests she’s thinking beyond individual artworks toward a more holistic lifestyle and design presence.
She’s also spoken about wanting to go deeper into painting — using more paint directly in works, obliterating and abstracting images further. If her past is any indication, whatever she makes next will look nothing like what she’s already made, and somehow still be entirely, unmistakably her.
FAQ — Dina Broadhurst Biography
Where is Dina Broadhurst from? Dina Broadhurst was born in 1977 and grew up in Kangaroo Point, just south of Sydney, Australia, on a waterfront property in the Sutherland Shire. She’s now based in Vaucluse in Sydney’s eastern suburbs.
What kind of art does Dina Broadhurst make? She makes mixed media photographic collages that combine original and found photography with digital editing, paint, and oversized 3D elements. Her work explores themes of femininity, desire, sexuality, identity, luxury, and the gap between our natural selves and the curated image we present to the world.
Who is Dina Broadhurst’s partner? Her current partner is Max, with whom she shares CASA Studio in Vaucluse. The two have built the space together and share a passion for mid-century design and collecting furniture.
Does Dina Broadhurst have children? Yes. She has a son named Leo from her previous marriage to Australian musician Nick Broadhurst. Leo is a teenager and, by Dina’s own account, one of her greatest sources of inspiration.
What is CASA Studio? CASA Studio is Dina Broadhurst’s home and studio in Vaucluse, Sydney. It’s a historic harbourside property that she and Max transformed from a rundown building into a beautifully restored creative space — part family home, part private gallery, part event venue, and part working studio. It represents her philosophy that art and life should not be separated.
How much does Dina Broadhurst art cost? Limited edition prints start from approximately $934 AUD through gallery retailers. Prices range up to $2,500+ AUD depending on the size, edition number, and whether the work is framed. Original works command significantly higher prices. At auction, her works have realised between $1,795 and $2,419 USD.
What brands has Dina Broadhurst collaborated with? Her brand collaboration portfolio includes Mercedes Benz, La Prairie, Tom Ford, Vogue, Harper’s Bazaar, Superga, Wella, Victor & Rolf, Wedgwood, David Jones, Country Road, and Westfield across Australia and New Zealand.
Is Dina Broadhurst on Instagram? Yes. She’s very active on Instagram under the handle @dinabroadhurst, where she has over 366,000 followers. Her Instagram presence is central to how she built her career — she bypassed the traditional gallery path and used social media to connect directly with collectors and commercial clients. She also runs a separate account for CASA Studio at @_casastudio.