Gorka Larrañaga's artistic sensitivity makes it inadmissible to consider him a static artist. His ability to not limit himself to a particular strategy or form of production is weighed as a serious skill, his work being a constant search for supports and techniques, associated with a reflection on the artistic system in which he operates.

   The territory he currently inhabits seems to have helped shape his work. The color, the strength, the intensity, show in one way or another the complex city in which he lives. The resources are usually equally affected by the environment: the superimposition, the collage, the mixture of various elements, the set of organic forms, emerge as starting points that fill several of his pieces with meaning and movement.

   In his understanding of his own work, there is no doubt that he questions the conditions of possibility of the image. Gorka Larrañaga makes it clear that art is not only theory, nor for some time, exclusively the material expression of emotions and intuitions. Here the physical has won over the conceptual without downplaying it. The viewer is able to read the artist's images without needing to read (this) text, an action of a degree of complexity that reflects the knowledge of his craft, being that even with the existence of a livelihood that justifies each piece, it is postponed before a technique that speaks for itself. In this way, an investigation of the corporeity of the image and the physical limits of representation is observed. There is a need to question the materiality of the medium itself, and the possibilities offered by matter in a digital world, governed by the virtual, visible only through technological devices.

    Thus, Cabinet of Curiosities, appears as the result of a processual work that has occurred in the last 10 years, sequences of thoughtful work, born from experimentation and research .

Ines Maldonado