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Short uni-screen film, 2020


It’s Supposed to Be A Loop is a multi-channel video installation which visual language, created by editing experiments, sculptural choices of installation and a varied aesthetic, engages a poetic dialogue between the formal structure of the loop and a cinematic narrative. 

The Sisiphian household situation in which the subject is caught questions how one can be trapped in and shaped by the intergenerational transmission of trauma. The music gives a pace to the psychic phases through which the subject tries to fight these forces.

Link to the video.

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Book of photography and writings, 2019-2020

Four Seasons and a Half was produced as part of Iri's thesis research at the School of Visual Arts, New York. The book reveals the photographic project she conducted in collaboration with two Argentinian transexual sex workers, Nikki and Heden, in their work place, that is the Bois de Boulogne park, situated on the outskirts of Paris. 


The book is a reflection on the political and intimate nature of bodies, on intersubjectivity, alterity and the appropriation of otherness as narrative and form to better understand the construction of self. It's also anchored in the artist's political aim to defy the division of women under patriarchal societal rules. Iri spent time with Nikki and Heden for months before starting to shoot. In this project, art is an excuse to socialize with people that would otherwise not cross the artist's path.  


The artist was anchored in both New York and Paris at the time of production - a contrast in approach to gender issues and appropriation theories that greatly informed and influenced her work.

Due to the rise of Covid-19 after the winter session shot with Heden, the collaboration was interrupted. Iri replaced the two seasons that could not be shot (Spring & Summer) by photo montages of what she imagined could have happened, emphasizing the feeling of absence and loneliness in both images. 


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Multimedia installation, 2017

Flesh & Stones is a multimedia work about spiritual rebirth produced with the participation of dancers, actors and performers. It originates from Iri's work Renacimiento, created during her residency at R.A.R.O Madrid in fall 2017.

The first iteration of Flesh & Stones has been exhibited at Espacio Nigredo in Madrid in November 2017. The scenography of the exhibition was key to the work as the images and videos were visible only through pinholes in the walls of a dark room. With a reference to the process used, the camera obscura, this staging fostered an intimate relationship to take place between the viewer and the images. 

See video of the making of here. 

The artist projected her pictures of the Canyon on naked, painted-in-white, bodies of models. (...) Landscapes’ and human bodies’ lines and textures merge to create a new environment at the crossroad between the organic and the mineral. Laying in the original fetal position, humans are central to the visual scene. Models’ postures invite us to recall of the uterus and the development of babies in their mother’s belly, giving this artificial setting a surprising feeling of familiarity. 


As an orchestra conductor, Irina provided clear guidelines to the models as to generate the postures to reach during the photo and video sessions. After one minute, the models were able to explore their own expression and took an active role into the project. Bodies searched their places, testing limits and barriers and gradually gaining consciousness of the environment around them. Fetal positions evolve towards more open postures, from discomfort to comfort, from tension to liberation, expressing anxiety as a result of fear to the unknown. 


"Photos and videos reside behind the wall - we don’t see them overtly because they talk about a hidden truth. This is also an answer to the proliferation and dictatorship of images today, a phenomenon that fosters the death of our intimacy but also of our potential for introspection. Here the images are available only to the ones that are really willing to look at them, therefore creating an intimate relationship between the subject of the image, its author and the viewer ”.

Extracts from Almudena Blanco Garcia's text visible here:


Photographies & video, 2017

As part of the project Flesh and Stones, Irina collaborated with the artist Lia Mun. This collaboration aims at experimenting with various processes of photographies involving using the back of a van as a camera obscura


Photo series, 2016


This series of photographs of the artist’s sister Julia marks the beginning of her collaborations with her sister.