Hundred Acre Wood, 2025
Painting : mixed media · 50 x 40 x 2 cm 19.7 x 15.7 x 0.8 inch · Ready to hang
$1,450
1 450 $US
Delivered in time for Christmas
Shipping & delivery
Shipped from: Israel
Delivery to: United States , $ 132
Estimated delivery: One to two weeks
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Verified Reviews : 9.6/10
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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 )
50 x 40 x 2 cm 19.7 x 15.7 x 0.8 inch Height x Width x Depth
Sold by
Art gallery
Professional art gallery • Israel
Credentials
Vetted seller since 2026
Description
This striking artwork presents a clever fusion of mixed media, capturing a silhouette Winnie the Pooth, filled with newspaper clippings representing a child in a state of precariousness. It features a dynamic combination of text and imagery, his reliance on print media highlighting themes of information consumption and communication. The silhouette reveals a monochrome photograph within, depicting a contemplative scene that invites introspection. Atop, a vivid pink butterfly perches, starkly contrasting against the subdued palette, symbolizing transformation or hope amid the ordinary. The background's earthy tones ground the composition, enhancing the emphasis on the central figure. This piece uniquely blends realism with abstract elements, creating a commentary on modern life's complexities. Its layered textures and thoughtful juxtaposition of imagery make it an engaging and thought-provoking work, urging viewers to reflect on the juxtaposition of nature and human constructs.
Presentation
Dekel Harari is a contemporary mixed-media artist, his practice explores routine, repetition, information overload, and the moment when habit takes control and the mind stops questioning. Newspapers are his primary material. Not because of their content, and not because they are free, but because of their physical presence — their texture, weight, fragility, and the quiet familiarity of the object itself. He changes their function. Instead of reading them and discarding them, he cuts them, paints over them, and constructs with them. Sometimes, they even re-enter circulation as artworks. The question, for him, is not simply what we do, but when an action ceases to be automatic and becomes a conscious choice. And what else might shift, if we paused long enough to actually think
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