In her work, Larsen employs various spatial systems that often contradict: combining reverse, isometric, and conventional perspectives, she casts everyday scenarios into a vertigo-inducing version of reality akin to our own. In this trio of studies, Larsen has turned the familiar, triangular form of a receding asphalt road upside-down. By reverse logic, the front headlights of a car appear to approach right-side up from overhead. The resulting composition casts the moving vehicle into a dizzying space that lacks any implicit horizon line, or a reliable vantage point—disorienting the viewer, destabilizing "fixed" perspective and making visible the unseen dimensions of day-to-day life.