Larry

Larry
Larry

Los Palos, Cuba, 1976

The singularity of Larry's work emerges, among other things, from his ability to reinvent the creative codes of pop from the Cuban contextual alibi. Such adherence makes possible the development of a discursiveness of a playful nature, always located in the field of allusions and encrypted stories. There is, in this gesture, a manifestly heretical will towards the local and foreign artistic universe, which crystallizes in provocative pieces of refined cynicism.

larry makes use of fragmentation and bias when conceiving his creative process, hence the quasi-palimpsestic superimposition of textual and visual layers within his works. Whether it is a drawing, a video or a sculptured object, the notion of collage becomes consubstantial to his works and, therefore, conditions broken and multidirectional readings. With an exquisite skill for the communion of disconnected cultural references, Larry propitiates, time and again, the dialogue between the profane and the sacred, the mediatic and the intimate, the imposture and the authentic. In a way - twisted and tremendous - this is his fundamental success: to blur with absolute freshness the line between frivolity and depth.

The deployment of a sustained work -in collaboration with Jorge M. Hernández until 2017- has enabled him to present solo exhibitions in the Cuban galleries La Acacia and La Servando ("All over drawing" and "El Martirio de Santa Julita", respectively). Likewise, he has participated in numerous collective projects, among which stand out "Hope" (ESMoA, L.A, USA), "On the Horizon" (Pérez Art Museum Miami, USA), "89 Noches" (Museo de Antioquia, Medellín, Colombia); "Archive Collection" (National Museum of Fine Arts, Havana, Cuba), "A Decade of Collecting", (Jordan Schnitzer Museum of Art, Obregon, USA), "The Golden Age of Video Art in Cuba" (Cinemateque Quebequoise, Galerie B-312, Montreal, Canada), "Ola Cuba" (Gare Saint Sauveur, Lille, France) and "Tout le poids d` une île, collectionner l`art cubain"(Musée des Beaux-Arts de Rennes, France). In 2015, while still working collaboratively, he was awarded the Residency El Ranchito Centro de Creación Contemporánea "Matadero", Madrid.

He has published the poetry books "La novela inconclusa de Bob Kippenberger" (Ediciones UNIÓN, 2011), "Osos" (Ediciones UNIÓN, 2013), "Me fui a sembrar tomates donde los agrestes ofrecían semillas de Ophrys Fusca" (Selvi Ediciones, 2020) and "LT" (Casa Vacía, 2021).

His works are part of the collection of the Perez Art Museum Miami (PAMM), (Miami, USA) and the Jordan Schnitzer Museum of Art (Obregon, USA).

Larry

curriculum

studies

Until 2017 he worked in collaboration with Jorge M. Hernández, under the name jorge&larry.    
 
2002-2015
Assistant Professor of the Department of Theoretical Studies on Art. Higher Institute of Art (ISA). Havana, Cuba
2002
Graduate of Art History. Faculty of Arts and Letters, University of Havana. Havana, Cuba.   

personal exhibitions

2019
GIF me loveThe Apartment. Havana, Cuba.
2018   
Melodrama (Miley is also a homeland)Servando Gallery. Havana, Cuba.
Melodrama (All is festoon and leafing)Servando Gallery. Havana, Cuba.
Melodrama (The Scar of Calixto)Servando Gallery. Havana, Cuba.
2017
MelodramaHavana Art Weekend, Faculty of Arts and Letters. Havana, Cuba.
2015  
All over drawing, La Acacia Gallery. Havana, Cuba.
The Martyrdom of St. Julita, Servando Gallery. Havana, Cuba.
2013  
What do the Olsen sisters store in those folders? Center for the Development of Visual Arts (CDAV). Havana, Cuba.

works

Biopic (Russian poetry and tornado), 2019
Installation
Variable dimensions

The cable, 2019
Installation
Variable dimensions

Two Rivers. From the series Bad paint is pronounced ...., 2017
Oil and acrylic on canvas
35 x 28.5 cm

Biopic (Russian poetry and tornado), 2019
Installation
Variable dimensions

The cable, 2019
Installation
Variable dimensions

Two Rivers. From the series Bad paint is pronounced ...., 2017
Oil and acrylic on canvas
35 x 28.5 cm

The filter of misfortune. From the series The bad paint is pronounced..., 2019
Oil and acrylic on canvas
42 x 35.5 cm

Untitled, 2019
Installation
70 x 25 x 50 cm

A saint predicts something that does not come true and is punished: repeating, God knows how long, a sterile message., 2019

Installation (plaster and graphite sculpture on wall)
Variable dimensions

The filter of misfortune. From the series The bad paint is pronounced..., 2019
Oil and acrylic on canvas
42 x 35.5 cm

Untitled, 2019
Installation
70 x 25 x 50 cm

A saint predicts something that does not come true and is punished: repeating, God knows how long, a sterile message., 2019

Installation (plaster and graphite sculpture on wall)
Variable dimensions

A saint predicts something that does not come true and is punished: repeating, God knows how long, a sterile message. (Detail), 2019

Installation (plaster and graphite sculpture on wall)
Variable dimensions