Between Times 3: Double-Sided Green Eye Coconut Shell Artwork, Confronting Fear Organic Diptych Sculpture, 2026
Dizlarka   Best sellers

Sculpture : oil, acrylic, Peat of coconut · 9.5 x 24 x 4.5 cm 3.7 x 9.4 x 1.8 inch

$350 350 $US
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Shipped from: Spain

Delivery to: United States , $ 55

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 )

9.5 x 24 x 4.5 cm 3.7 x 9.4 x 1.8 inch Height x Width x Depth

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Credentials

Vetted seller since 2024 • Top Seller

Description

Between Times 3: Hand-Painted Double-Sided Coconut Shell Eye Sculpture

Add this green eye coconut shell sculpture to your collection today and bring a profound narrative of personal transformation into your home. This remarkable double-sided diptych, "Between Times 3" (9.5x24 cm / 3.7x9.4 in). Composed of two physical pieces measuring 9.5x12 cm / 3.7x4.7 in each, it is hand-painted in acrylic and oil on natural coconut shells.

The front presents a pair of mesmerizing green and amber eyes reflecting the journey of the past and future. On the reverse, the artist illustrates the process of confronting fear, showing a figure cowering beneath a black bird and then rising into freedom. Preserving the raw, fibrous texture of the shell, this artwork is an exquisite statement piece for modern interiors and a thoughtful, symbolic gift. It invites the viewer to embrace the present moment, trusting in their ability to overcome life's challenges.

Animal

Wall sculpture

figurative

3D

Eyes

Birds

Diptych Artworks

Symbols

Beige

Black

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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