Rina Bouwen documents the performance that Larrea presented in the Rina Bouwen gallery in Madrid. In the video, the artist is the all-powerful creator, capable of doing and undoing as she pleases the designs of form and colour that she capriciously invents for the ceilings and floors of the exhibition space, designs which make up a harmonic composition that appears and disappears at her will, to the rhythm of sacred music.
This piece falls within the set of works in which the author reflects on artistic practice, more specifically, on the role of the “creator” in our society, revising categories such as “authorship”, “genious” or “inspiration”, notions that are associated with the Romantic conception of art.
Larrea’s work strikes a careful balance between its formal grounds, which maintains its own poetics, privileging the use of primary colours and geometric compositions; and combative contents that attack the traditional conception of art, advocating for the interrelatedness of disciplines and for an understanding and practice of the artistic process as team work or collaboration.
This work can also be interpreted as a revision of the feminist essentialist position. Larrea recovers the figure of woman as creating principle, almost as a deity, and she ironically highlights the strangeness with which we look at her adopting this role.
Larrea’s work tends to fall within open disciplines, very far from object-orientated art practices. She offers a transverse look at the act of creation, focusing on the relationship art-life. Some of her favoured practices are the performance, the happening, video and installation. These are practices of ephemeral art, with which she formulates fields of reflection that come into dialogue with each other, within the lines of what has been termed “relational art”.
In her work, amongst modules and arranged performances, Larrea opens breaches to the unexpected, ruptures capable of being permeated by the rhythms of life, by the powerful tream of creative ambiguity.