paris

Adriana Lara, Live (Wild, Animal, Disco, Deviant), 2016, digital projection on curved screen, color, sound, 4 minutes 47 seconds. Song by Emilio Acevedo, montage by Martin Bautista. Installation view. Photo: Marc Domage.

Adriana Lara

Air de Paris

Adriana Lara, Live (Wild, Animal, Disco, Deviant), 2016, digital projection on curved screen, color, sound, 4 minutes 47 seconds. Song by Emilio Acevedo, montage by Martin Bautista. Installation view. Photo: Marc Domage.

The antic force behind Adriana Lara’s work is essentially linguistic in nature. The artist makes hay of ideas and concepts, exploiting their capacity to promiscuously inhabit a form, only to migrate to another. In her recent exhibition “Eggsplotion,” resonances and resemblances ricocheted from work to work, leaving the viewer to unpack their arch logic. The titular neologism connotes contradictory possibilities: creative origins, culinary consumption, and destructive expenditures of energy—but also the premeditation of a plot.

Visible from outside the gallery in its storefront vitrine were the paintings Eggsplotion #1–4, 2016, four canvases of unprimed linen each occupying its own wall or the ceiling. The sparse marks, gobs of yellow oil paint with dabs of white, suggested that the work was the result of an explosion of embryonic material, with a wry wink to tempera as a

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