Between Times 1: Hand Painted Double Sided Coconut Shell Art, Brown Surreal Eye and Volcano Landscape Tabletop Sculpture, 2026
Sculpture : oil, acrylic, Peat of coconut · 10 x 21 x 4.5 cm 3.9 x 8.3 x 1.8 inch
€326
326 €
Delivered in time for Christmas
Shipping & delivery
Shipped from: Spain
Delivery to: Germany , € 35
Estimated delivery: Less than one week
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Verified Reviews : 9.6/10
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About the artwork
Type
Sculpture : Unique artwork
Condition
Artwork sold in perfect condition
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
oil , acrylic , Peat of coconut on wood , without pedestal
Dimensions ( cm • inch )
10 x 21 x 4.5 cm 3.9 x 8.3 x 1.8 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2024 • Top Seller
Description
Between Times 1: Surreal Eye Painted Coconut Shell Sculpture (Two eyes, each measuring 10.5x10x4.5 cm/ 4.1x3.9x1.8 in. This artwork has two sides)
Adding this unique hand painted eye sculpture to your art collection will instantly elevate your space with organic warmth. Titled Between Times 1 (10x21x4.5 cm / 3.9x8ю3x1.8 in), this double-sided masterpiece is created with acrylic and oil on a natural coconut shell. The outer curved surface features a highly detailed, soulful brown eye, while the inner hollow side reveals a mysterious abstract landscape depicting a rising volcano. Symbolizing the balance between past and future, this tactile three-dimensional artwork serves as a beautiful daily reminder to live in the present. It fits effortlessly into modern bohemian interiors, making a gorgeous tabletop ornament or mantle display. This thoughtful piece is also an excellent choice for a housewarming or holiday gift.
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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