The images emblazoned by Dean and Laura Larson’s European sojourn had an extended stay at the Fine Arts Building in downtown Los Angeles during the fall of 2016. The exhibit entitled a Journey In Time cast an atmosphere that was suffused with duration rather than a glimpse into lineal time. Laura’s hybrid animal beings seamlessly inhabit her photographic interiors while Dean’s photographic exterior scapes combine as a mellifluous collaboration. An oneric harmony if you will, presenting in this case a collective document of their of double travels in France that included the years 2013 and 2016. The result invaded my eye as a living compendium not a simplistic blending, but a tapestry that brings to mind the aesthetic verbal color that Pere Gimferrer employs in his work Fortuny that poetically chronicles the “aesthetic opulence of the European Belle Epoque and successive decades.”
Rather than a more inclusive domain the Larson’s circuitry remained confined to France traversing its earlier eras as they explored locales such as Cluny and Versaille bringing forth new found wonders from what I would tend to describe as the historically inert.
The works at hand pervade the visual field with a magnetism of hypnotic fluency evoking an architecture of melliflous assemblage providing the viewer with a fleeting seminar on beauty. Thus, the works give glimpse to a dimension that foretells itself allowing each work to emanate with striking insistence a telapathic clamour that the subconcious seems to spontaneously conjoin with. Saying this, I am not saying that the exhibit propounded itself via quasi-mystical obsfucation, but on the contrary elicited an ineluctable quality defying the quantitative as containment.
Laura’s hybrid beings interact with the mythical plane that they kindle in the viewer almost palpable respiration. There exists a susurrant call and response between Dean’s exterior scenes and Laura’ vibrant interior decor. It is not unlike synesthesia, as visual had translated to aural seepage suffusing the derma so that the uniqueness of each work begin to concretize in one’s consciousness as a hidden spectral dye alive with heightened interior wisdom. All the while a type of arcane commentary persists as if the factor of menace enthralled the atmosphere with comment. Take Laura’s apparitional ferrets haunting the private chamber of Marie Antoinette, or Dean’s otherworldly locomotion implied by his Auxerre with its lane engulfed by a teeming spectral presence. Then there exists their collective image that contains its sudden upright buffalo fiercely gazing over an interior decor at Cluny.
There is never the feeling of assumption or pre-scripted posture compromised by induction, instead there is a wave of rhapsody in the works that continue to instill their presence long after one has left their actual physical installation. One then associates these works with the realm empowered by Debussy and Ravel, and of the aforementioned Gimferrer, possesing themselves beauty that ascends to the plane of the indescribable.