Diptych Changes, 2022
Painting : acrylic, pencil, marker · 30 x 60 x 3 cm 11.8 x 23.6 x 1.2 inch · Ready to hang
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Shipped from: Spain
Delivery to: United States , $ 107
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 artist
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
30 x 60 x 3 cm 11.8 x 23.6 x 1.2 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2024 • Top Seller
Description
"Diptych Changes": Dynamic Industrial Nature Diptych | Modern Art for Thoughtful Interiors & Decor
The set of artworks "Changes"
This diptych explores the destructive and healing power of human impact on
nature. In the first painting, polluted black water flows through cold industrial pipes, while a green sprout defiantly grows between them - a symbol of hope and resilience. In the second, a human-like figure merges with nature: one side lifeless and poisoned, the other vibrant and blooming. These works are a call for reflection and responsibility in how we treat our planet.
2 pcs 30x30 everyone
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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