Puppet Doll, 2022
Dizlarka   Best sellers

Painting : oil · 90 x 70 x 3 cm 35.4 x 27.6 x 1.2 inch · Ready to hang

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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, not framed, ready to hang

with stretcher frame

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

90 x 70 x 3 cm 35.4 x 27.6 x 1.2 inch Height x Width x Depth

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Credentials

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Description

This artwork explores the silent struggle of a woman caught between expectation and choice. She is a puppet, suspended by scarlet threads, yet the puppeteer remains unseen. Is she controlled by others, by society, or by her own fears?
The skeletal frame of her skirt recalls a time when a woman's destiny was confined to family and children. Though the world has changed, the cage remains—different in shape, but just as binding. She could resist, break free, cut the strings. But instead, she hangs motionless, her arms outstretched in a crucified pose, her eyes downcast in quiet surrender.
She is not bound by force but by the weight of expectation, by the role imposed upon her—a beautiful doll, admired yet powerless.
 

Dizlarka, Puppet Doll

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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