In Anju Dodiya’s recent show “Room for Erasures,” eight life-size watercolors, which she calls “studio-dramas,” commandeered the exhibition space, turning it into a kind of theater. The paintings, depicting the artist’s alter ego as a robed and coiffed samurai painter, like a figure out of the works of Utagawa Kuniyoshi, staged a serial melodrama projecting the internal conflicts inherent in artistic practice. In some, the heroine is pitted against her own worst enemy: a fractious, resistant self. In others, she succeeds in moving toward her vision, realizing a sense of fulfillment, a taste of