Charged Traces


In recent years, Lara de Moor has gradually narrowed her focus to the representation of interiors as places of testimonial value. She collects and combines these interiors and the objects she finds there. She mostly uses her own spaces, but she has also based works on friends' interiors, both in Holland and abroad. As she rearranges furniture and adds elements, the history of the place exerts its undeniable influence.

As there is no such thing as a factual reproduction of what we see, Lara de Moor's work revolves around her belief that our view is formed through past experiences, slowly honed down by hopes and fears. It is in particular this elusiveness of true observation which she embraces in her work. De Moor: 'Painting lends itself very well to approaching this subject since the painting in itself is both present and absent, possible and impossible. It hangs still and silent on the wall and at the same time it suggests an opening to another space. In the painting I seek to get the most out of this suggestive quality, which I find in the overlapping field of what is possible and what is not.'
In De Moor's paintings, what's absent is as important as what is present. We often seem to have missed an event that has just taken place, but the remaining objects can be equally telling. They may be viewed as charged traces of human behaviour.
Her paintings often reveal the precise moment when balance is slowly tilted towards a level of higher intensity. That uncertain moment, just before balance is achieved or just after it, can be found in most of her work.

Lara de Moor explores various questions that are rooted in her own experiences. Recently, thoughts about loss, compassion and solace have laid at the foundation of a number of paintings. Some of these latest works show garments on various supportive structures, offered up, almost dead, always vacant. The spaces alive, either casting shapes of light or dark orbs of shadows from some unknown presence.



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