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).