Dipali Aphale is a multidisciplinary artist and designer whose practice spans abstract expressionism, mixed media, and experimental image-making — with an intention to occupy the liminal threshold between allure and dissonance.
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SF Design Week: Women in Design
San Francisco 2026
Making Art Collective
San Francisco 2026
Dubai Design Week
Dubai 2019
Exhibitions
Master of Art
Royal College of Art 2019
Master of Science
Imperial College London 2019
Bachelor of Industrial Design
NC State University 2017
Education
My practice explores emotion, memory, and materiality through abstract expression. I work primarily through painting and experimental image-making, using texture, gesture, repetition, and contrast to translate personal experiences into physical form. My work often begins with something remembered—a place, person, or feeling—and explores how its meaning shifts through time, material, and the act of making.
Artist Statement
Dipali’s art practice operates through her studio OMNI(SCIENT) GROUP LLC. For inquiries about purchasing or exhibiting her pieces, please email hello@omniscient.llc.
IG @omniscient.llc
Web omniscient.llc
Based in San Francisco
(sometimes London)
Contact
Something from Nothing
Acrylic
Framed (wood)
30×40
$3,600
“Something from Nothing” is an expression of creation through eruption and the dramatic upheaval of old into new. Drawing inspiration from the cycle of nature in Hawaii, between the bubbling tops of volcanoes to the supple brush of the Ohia Lehua tree.
Soft Spot
Acrylic
Sand
Heat pen
Framed (wood)
48×60
Request pricing
“Soft Spot” is a love letter I never sent — it is the first piece in Unsent Letters, a lifelong series about the emotional residue of things deliberately left unspoken. The series emerged from my changing relationship with confrontation: learning that expressing every feeling directly is not always an act of honesty. Unsent Letters gives these thoughts a place to exist by transforming private emotional language into physical artifacts.
Cool Embers
Acrylic
Sand
Framed (wood)
30×40
$3,600
“Cool Embers” recalls late nights around bonfires in North Carolina and the moment when a fire begins to recede into darkness. The painting reconstructs its afterimage — with cooler flashes of color depicting embers glistening and rising, and deep texture creating shadows behind them.
Tonal Landscape
Acrylic
Sand
Framed (wood)
24×36
SOLD
“Tonal Landscape” draws from time spent among the sand dunes of Monterey, where wind, water, and shifting natural elements continuously reshape the landscape. While the terrain itself is never fixed, its muted, earthen palette remains remarkably consistent—an abstract field of sand, stone, shadow, and weathered color. Layered acrylic and sand translate this tension between constancy and change, using texture and subtle tonal shifts to create a landscape that appears to emerge, recede, and transform with the light.
Summer Clouds in North Carolina
Acrylic
Sand
Framed (wood)
30×40
$3,600
“Summer Clouds in North Carolina” draws from a distinct memory engrained in me forever from one of my favorite times at Lake Crabtree. The painting preserves the liminal atmosphere of the moment: a fluffy cloud suspended over the water, softened edges in the humid evening light, and the particular greens and blues true to summers in the South. Texture allows the remembered landscape to remain amorphous, occupying the space between a specific place and the way that place changes through memory.
Moving Light
Acrylic
Sand
Framed (wood)
24×36
$3,000
“Moving Light” explores texture as a means of creating variation within an intentionally restrained palette. Rather than relying on color to construct depth, layers of acrylic and sand create a surface that changes according to the viewer’s position and surrounding light. The work considers monochrome not as an absence of variation, but as a way of making material, shadow, and movement more visible.
Field of Becoming
Acrylic
Oil pastel
Framed (wood)
36×48
SOLD
“Field of Becoming” considers a life not as a linear progression, but as an accumulation of distinct and sometimes contradictory phases. Commissioned by Oasis for Girls (a San Francisco nonprofit supporting young women of color), the piece celebrates diversity and growth through an abstraction of the many journeys of establishing yourself as a young woman of color. Gestural marks move between density and openness, disruption and calm — what initially appears fragmented gradually becomes interconnected: a reflection on how seemingly unrelated versions of ourselves ultimately belong to a single, continuous life.
Waterfall
Acrylic
Sand
Framed (wood)
24×32
$2,700
“Waterfall” explores movement through a nearly monochromatic field of layered acrylic and sand. Directional marks cut across the surface, allowing reflected light to reveal forms that appear and disappear depending on how the work is viewed. By reducing color, the painting shifts attention toward rhythm, material, and the subtle tension between a static surface and the suggestion of continuous movement.
Child of a Botanist
Cyanotype
Framed (aluminum)
18×24
$1,200
24×30
$1,800
Reproductions
upon request
“Child of a Botanist” is an ongoing cyanotype series exploring botanical imagery as a connection to the women who raised me. The title begins with my mother, who earned a degree in botany in India, while the imagery carries quieter references to my grandmothers: Mangala who was nicknamed Lily, and Sudha whose name translates to sweet nectar.
This form of printmaking creates an immediate dialogue between intention and natural process — printing on raw cotton fabric further emphasizes this relationship, allowing the weave, folds, and frayed edges of the textile to become part of the final composition as a unique record of a moment in time.