On the Language of Dreams 3: Contemporary Mixed Media and Ink Collage, 2026
Dizlarka   Best sellers

Fine Art Drawings : Watercolour, acrylic, pencil, ink · 27.8 x 20 x 0.1 cm 10.9 x 7.9 x 0 inch

€232 232 €
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Shipped from: Spain

Delivery to: France , € 25

Estimated delivery: Less than one week

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About the artwork

Type

Fine Art Drawings : Unique artwork

Condition

Artwork sold in perfect condition, not framed

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

27.8 x 20 x 0.1 cm 10.9 x 7.9 x 0 inch Height x Width x Depth

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Vetted seller since 2024 • Top Seller

Description

Surreal mixed media artwork on paper is ready to make yours. We invite you to explore the poetic depth of "On the Language of Dreams 3" (27.8x20 cm / 10.9x7.9 in), a masterful execution of acrylic, ink, pencil, pen, watercolor, and tea pigment on paper. The composition tells a universal story of displacement and belonging, weaving text fragments of five different languages into a beautiful collage. The warm cream, sepia, and charcoal tones evoke a sense of nostalgic elegance. This unique artwork is an ideal gift for modern art enthusiasts or those looking to add a layer of storytelling to their interiors. It brings an instant sense of warmth and intellect to a minimalist or mid-century modern home, serving as a powerful visual narrative of dreams, memories, and transformation.

Portrait

Drawing on paper

Women

Surrealism

Beige

Black

Dizlarka, On the Language of Dreams 3: Contemporary Mixed Media and Ink Collage

Dizlarka

Spain  • 1983

Presentation

Dizlarka, the artistic name of Leah Larisa Bunshaft, is a multidisciplinary contemporary artist whose practice examines femininity, feminism, motherhood, vulnerability, identity, personal boundaries, and the social structures that shape women's lives.

Working across painting, drawing, photography, printmaking, sculpture, and installation, Dizlarka treats material as an active part of meaning. Textiles, glass, concrete, photographs, found objects, threads, masks, and domestic or bodily references create tensions between protection and exposure, beauty and pressure, fragility and resistance.

Much of her work begins with female experience. She is particularly interested in the roles women are expected to perform — caring, organizing, adapting, nurturing, remaining desirable, absorbing emotional labor — and in how these expectations can become so normalized that they are no longer seen.

Her project My Borders explores personal, psychological, bodily, and social boundaries through a predominantly red visual language. Female figures, threads, masks, heels, and symbolic objects become ways of examining control, autonomy, expectation, and self-definition.

Dizlarka's work does not present vulnerability as the opposite of strength. Instead, the two continually coexist. Personal experience becomes a starting point for questions that extend beyond autobiography: what do we carry because we choose to, and what have we simply been taught to carry?

Her work has been exhibited internationally in the United States and Europe, including presentations at MoRA Museum in New York and museum exhibitions in Italy.

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