In Mercedes Lara is easy to find some characteristics that clearly define her path from the beginning: a voracious capacity for work, coupled with a deep intuition that always accompanies as her own Jiminy Cricket and an immeasurable love for ART, understood exactly as I write it, in capital letters.
After a pictorial period in which her work already reflected a clear interest in lights not in the shadows, although these will serve to focus the viewer's attention in the first, began a period we might call postpictorial where the elements involved are others where the paint seems not to be enough before the discoverer effort that aims to find the way to move her concerns to the work.
An existential concern that has occupied the eastern and western philosophical thought since ever, the time/space relation. Somehow and at some point the work of Mercedes takes us back to the myth of Plato's cave in which both factors are definitely relativized to demonstrate how we perceive things very differently depending on when and where we are. Approach that has also been present throughout the history of art, especially since the authors Pablo Picasso, Paul Cezanne and Salvador Dalí ended with the classical conception of space and time, reformulating the idea of the real as stable space or time.