"Shirley" card — named for the original model, who was an employee of Kodak — was used by photo labs to calibrate skin tones, shadows and light during the printing process. Shirley cards go back to the mid-1950s and, for decades, featured only white models.

Robocalls are coming from multiple countries around the world. No matter where the calls originate from, you really aren't alone.

A perception of the future in the past - a vision of a future city and repetitive dreams. Now is the Future. How did you think of the future 5 years ago? Where are you headed? So much we thought up as fiction has become real. Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist © Ivana Larrosa

Solaris immerses the viewer in visual overlays and sonic rhythms as a perceptual delay between appearance and meaning. 
Following the pattern of my diplopia, Solaris provokes a sensory disorientation while navigating through this psychological, phenomenological and circular space. Based on 'Fuerte & Mala' Performed at Bard - International Center of Photography Studios Nov 30, 2015. Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist © Ivana Larrosa

Based on Yoko Ono's Grapefruit piece, Drinking Piece for Orchestra portrays the journey of a fish that swims across the sky swimming from the West to the East and back. The humanization of an animal species threatened by another humanized species that interferes, colonizes or seizes the ecosystem of other living beings. Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist © Ivana Larrosa & Alexandra Nqvist

Most of my female friends have been in a situation where they wanted to deliver this message to their couples. Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist.

When I think about my perception, I embrace its negative space, the impossibility for me to perceive the world as I used to before my car accident. The gap between what I see or don’t see, the transitional phenomena between the emotional body and external reality, that reoccurred the first time I was able to align my vision after the car accident. I didn’t have the orbit of my left eye reconstructed until the third surgery. My eye was still adjusting to its new space during the months of rehabilitation following the accident. I talked to “Him” (because in Spanish “eye” is gendered male) to encourage him while I practiced coordination, accuracy, accommodation, and mobility exercises to synch the vision of both eyes. I sat in a chair for eight hours a day waiting for something to happen. My double vision was so irregular in near and far distances that I was losing the dimensionality of objects. My brain had enough memory to supply information, but the physicality of objects was vanishing. At the same time, any movement that I was able to do with my fragmented eye muscle was liberating, albeit painful, like peeling duct tape off of flesh. And all of a sudden it happened. I was waiting with my sister at the Atocha train station in Madrid, and without any warning, without any expectation I found it. In a tiny spot, a foot away from me, 15º up from my nose, my vision melded. I started to dance making circles around my sister and to move my head back and forth to locate this little dot of synchronicity; as I recreated in the video performance Untitled (this is not a circle). The impossibility and the desire to see transformed into an alchemical freedom, into an unphysical detachment. It was a dizzying moment contained by a certain impossible possibility of seeing the unseen: a tingling, a thrill, and a shocking tremble. Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist © Ivana Larrosa

I roll down a hill, losing orientation with each dizzying turn and making the viewer turn around the five screens. I spin because it is like acting on the impulse to fly; it lets me forget that I am in a real space; it makes me feel free like an ascendant spiral from reality to the imaginary. Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist © Ivana Larrosa

I combine constructive experiences and elements of daily life to balance those that are most about fantasy: like confronting the self-delusion of my grounding while waiting for the therapist, with the bubbles that I make by blowing in a fish tank. Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist.

I combine constructive experiences and elements of daily life to balance those that are most about fantasy: like confronting the self-delusion of my grounding while waiting for the therapist, with the bubbles that I make by blowing in a fish tank. Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist.

Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist © Ivana Larrosa

Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist.

I cook blind, talking not only about an event but the ways it reverberates throughout my life. Exploring identity through the body and its limits, my work investigates the impact of my permanent double vision and my experience of space consequence of a car accident. I embrace this disjunction in a spirited, playful way, finding eccentricity and humor. Screenings: International Center of Photography - Slide Fest screening (2015) International Center of Photography - I am not your mother (2016) Anthology Film Archives - Winter/ Spring Flaherty NYC series ‘Broken Senses’ (2017) Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist © Ivana Larrosa

I avoid theatricality and I rely on daily performative actions in domestic space by positioning myself in the kitchen as a disembodied husband (turned into a cleaning robot) hits my toes over and over to get my attention. Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist © Ivana Larrosa

I wasn’t completely sure about Freud’s affirmation “a memory can only become a trauma by being remembered” that I discovered in Adam Philips’ book On Flirtation, until I experienced a particular vision. It was a close-up of thick blood dripping in slow motion over an imaginary screen inside my body. I was editing my first video performance Remembered Space and I freely associated footage of myself being upside down in the back seat of a car, with images of broken windows from an old factory. While editing the sequence, I tasted the dryness in my throat, the dust and the soil mixing with the metallic flavor of the same blood I had swallowed when I was in the car accident a decade ago. This image was one of the first side effects of the EMDR therapy, or perhaps it appeared because I freely associated it in the editing room. What I didn’t see during the car accident arrived as what Juliet Mitchell describes as a response to trauma in Mad Men and Medusas, Reclaiming Hysteria: as a mental perception that I “enacted bodily.” Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist © Ivana Larrosa

Hello/Goodbye opens with my visits to the therapist’s office. I edited out the session only to show the frame of my body coming and leaving. Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist © Ivana Larrosa

I contour my body in a brown leather couch from an aerial perspective that disorients the viewer while two more screens replicate the movements by disrupting cycles in the middle of the piece. Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist © Ivana Larrosa

I investigate the impact of space in the construction of the self and the ways of seeing in relation to the car accident that left me with permanent double vision since 2002. Cruelty explores endurance and emotional embodiment along with the notion of identity through the body and its limits. Because trauma eradicates the memory as representation, in its place comes the perception, the presentation of the experience where the audience becomes the mediator constitutes a process of reworking the emotion that allows movement from trauma to the idea of an event as a cathartic. Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist © Ivana Larrosa

Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist © Ivana Larrosa