Personal borders, 2022
Painting : oil · 30 x 30 x 5 cm 11.8 x 11.8 x 2 inch · Ready to hang
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Shipped from: United States
Delivery to: Germany , € 51
Estimated delivery: Less than one week
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Verified Reviews : 9.6/10
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
Dimensions ( cm • inch )
30 x 30 x 5 cm 11.8 x 11.8 x 2 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2024 • Top Seller
Description
My artwork "Personal borders" explores the intersection of personal and social boundaries.
At its center is my hand—an individual map created with a unique handprint and fingerprints. In palmistry, the lines on a palm are said to reveal one's destiny, yet here, the hand's edges blur, reflecting the struggle to define personal limits. These boundaries are marked by a dotted line—tentative, uncertain, and ever-shifting.
The background, composed of geometric squares, resembles a fragmented world map viewed from above. This symbolizes the broader societal landscape, where boundaries—moral, physical, gendered, territorial—are constantly questioned and redefined.
The artwork speaks to the challenge of setting boundaries in an ever-changing world. Rules and limitations can bring order, but they can also lead to stagnation or even dangerous ideologies. How does one find balance? That remains a deeply personal question—one each individual must answer for themselves.
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.
Reviews from our customers
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