For several decades we have been talking and communing at different levels with the consequences of the so-called: crisis of modernity, reflected in the assessments of meaning about the current world and therefore in the life of man, provoking a new form of disorientation as Berger and Luckmann point out in the essay “Modernity, pluralism and crisis of meaning”. This new form of disorientation feeds on the excesses of the spectacle (Guy Debord), we cohabit within a liquid life (Zygmunt Bauman) that has turned us into societies with attention deficit, individuals who lose interest in the intensity of the flow of information and images.

   Therefore, the pieces presented by Gorka Larrañaga are proposals to rethink the meanings of experiences, particularly, seen from the image, in each work, the author stops to empty the content, tries to avoid the anecdotal or narrative argument, to return to the essential, the fundamental in the formal, that is, to be aware of the general structure of things, where perception, memory and imagination play an important role in each of them.

   Puzzle, photorealistic conceptual drawings, abstractions, incidences in the layers of paper with a scalpel, graphite in the final intervention, all without color, only, grayish tones, which they seek to highlight the qualities hidden in the virtual image, the fact of the intervention as a dissection towards new compositions, layers, allusions, encrypted mentions or references. Formally they are collages, which seem like nods to inherent schizophrenic issues of contemporary individuals, where abundance has wreaked havoc. The pieces, therefore, are reflections to revisit the act in the gaze and slow down the excess of information. They become compositions that offer the possibility of understanding that it is still possible to generate more from the same image, which is a very powerful reflection within this context, where every day overwhelming amounts of photographs are posted on the networks, today, there are more images on the internet than attentive eyes to see them.

   Gorka makes us think that the image still has a lot to offer, that other reflections and perspectives are waiting from the contemplative experience by breaking the linear narrative or delving into the apparently finished and go after the trace, finding as a consequence the reconstruction of paths and signs, clues to understand something abstract and symbolic, uniting the method of constant work, admitting and taking advantage of the waves of its consequences to gain strength in the formal results .

Monica Galvan