Lara uses things readily at hand to create objects and situations that interrogate the processes of art and the spectrum of roles that art and artists play in society. To these ends, she has used furniture, projections, photographs, clothing, and even people as her materials. A reflection on how the production of meaning itself takes place in the manufacturing of things is embodied in wooden hand chairs, a crafty Indonesian version of the iconic Pedro Friedeberg 1960s Pop design. Facing one another and pulling a tight thread between their fingers as if playing a game, The Thinkers (2014) is a magnified version of the practice of weaving, with the hand as the primary technological tool. Part readymade, part joke, and part examination of the role of the artist, the significance of this simple gesture hinges on the feeling of discontinuity, the shift in consciousness, that it provokes.
Adriana Lara is fascinated by how a single thing (an object, a photograph, a song, a text) can be transformed into a work of art. This process does not relate to formal alteration or the application of expert skill, but rather to a simple act of articulation. Rather than relying on the physical creation of something new, this becomes that (namely, art) because the artist declares it to be so. This special kind of alchemy imbues all of Lara’s objects with a restless ambiguity. Much like her art, Lara is something of a shape-shifter herself, moving between the roles of artist, curator, musician, or writer whenever it suits her needs.