For those of us who feel and enjoy art, Julio Larraz’s work provides a simultaneously delightful and stimulating experience, a reason for celebration both for the senses and for the mind. His work gathers a good number of contributions of the figurative tradition, but his work is really unclassifiable within the varied directions of the painting given the contributions of his own harvest, that is to say, the considerations and appreciations without antecedents and the innovations and variations that have provided him with a particular language and that have given him a leading position in the art scene Latin American, and in general, of global art.
Because his painting represents contributions of extensive scope from the conceptual, stylistic and thematic points of view that give it an evident validity in these globalized times in which art is expected to disseminate ideas, perceptions and valid knowledge for the inhabitants of all points Cardinals of the planet.
Conceptually, Larraz has remained faithful to the painting despite the onslaught of the dematerialization of art, manifesting a strong conviction in its discursive function and in its ability to represent or point out, as a system of visual significance, aspects and nuances of reality. His work constitutes, therefore, not only a reaffirmation of the singularity and subjectivity that emphasizes the painting, but also a confirmation of the painting as a way to socialize the personal, to share the singular, to communicate valuations and to disseminate the originally individual.
Stylistically it could be said that his work is close to some characteristics of surrealism since in some of his paintings a certain dream quality is identifiable, a certain interference of the unconscious, but accompanied by a scale consciously dramatized, and of the realism of a tropical light, which prompts to evoke the incandescence and drowsiness of noon. In other words, his work constitutes a fertile mixture not only of accurate brush strokes and contrasting colors, but mainly of reality and imagination, and of perceptions and forebodings, with which he has built an unreal universe although extremely similar to reality.
Thematically, his work includes still lifes in which he has repeatedly pointed out his relationship with the Spanish still lifes of the seventeenth century, but in this exhibition, his works revolve primarily around the landscape and the human figure.