On the Language of Dreams 4: Dreamlike Mixed Media Art and Ink Collage on Paper, 2026
Fine Art Drawings : Watercolour, acrylic, pencil, ink · 27.8 x 20 x 0.1 cm 10.9 x 7.9 x 0 inch
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Verified Reviews : 9.6/10
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
Watercolour , acrylic , pencil , ink on paper
Dimensions ( cm • inch )
27.8 x 20 x 0.1 cm 10.9 x 7.9 x 0 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2024 • Top Seller
Description
Discover a profound visual journey with "On the Language of Dreams 4" (27.8 x 20 cm / 10.9 x 7.9 in). This sophisticated artwork, executed in a palette of tea-stained neutrals and deep inks, utilizes a combination of acrylic, pencil, and watercolor to explore the inner landscape of an immigrant living between languages and memories. The artist skillfully weaves fragments of diverse texts into the composition, creating a map of emotions where loneliness and belonging coexist. Its intimate scale makes it a perfect addition to a curated home office or a serene bedroom, providing a touch of thoughtful, intellectual depth. This piece is a must-have for collectors who value modern, meaningful art that speaks to the universal journey of transformation. Its organic textures and muted color scheme ensure it fits seamlessly into any contemporary, refined interior.
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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