On the Language of Dreams 1: Contemporary Mixed Media Silhouette on Paper, 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

€233 233 €
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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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Credentials

Vetted seller since 2024 • Top Seller

Description

Acquire this original contemporary artwork on paper to elevate your collection with rich, evocative storytelling. In "On the Language of Dreams 1" (27.8x20 cm / 10.9x7.9 in), the artist uses acrylic, ink, pencil, pen, watercolor, and warm tea pigment to create a captivating visual narrative. Intertwined text fragments in English, Spanish, Catalan, Russian, and Hebrew form a poetic map of dreams and emotions, reflecting the complex journey of living between cultures. The dramatic black silhouette, anchored by delicate root-like lines, captures the duality of loneliness and hope, displacement and belonging. This hand-crafted work perfectly complements mid-century modern interiors, adding a sophisticated, warm, and intellectual atmosphere. It is a wonderful investment for collectors of expressive, semi-abstract art and makes a highly unique, memorable gift.

Nude

Portrait

Human body

Drawing on paper

Beige

Black

Dizlarka, On the Language of Dreams 1: Contemporary Mixed Media Silhouette on Paper

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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