.

My work grows from an ongoing attention to the experience of living. Rather than searching for certainty or fixed meanings, I use the process of making to give form to observations that continue to unfold over time. I am drawn to the subtle ways memory, perception, and experience continually shift and redefine one another. My work does not seek to offer conclusions; it simply shares the way I look.

Nature has profoundly influenced the way I understand this process. I see it as an interconnected system in constant transformation, where every element exists in relation to another and nothing remains fixed. This understanding informs both the conceptual foundation of my work and the way I construct it through layered paper compositions, translucent surfaces, photography, drawing, and three-dimensional forms whose appearance changes with light, movement, and the viewer's position.

Places that hold personal significance are a recurring presence throughout my work. I return to them because they allow me to observe change in tangible ways. A demolished house, an altered building, or a dispersed collection of objects may no longer exist as I once knew them, yet the traces they leave behind continue to shape memory. These places are not the subject of my work but a lens through which I explore broader questions about impermanence, belonging, and the illusion that we can ever truly return to what once was.

Much of my work moves toward abstraction. Images often appear as irregular fragments or geometric forms, seemingly isolated or independent, while remaining connected to something beyond what is visible. Their origin may be revealed or left unknown, but the absence of visible context does not imply the absence of a larger whole; each fragment retains a sense of belonging to something beyond what is immediately visible.

Photography plays an important role in this visual language because its inherent selectivity echoes this condition. Every photograph isolates a portion of reality, revealing something while simultaneously leaving something else outside the frame. I am drawn to this tension between what is present and what remains unseen. Through fragmentation, layering, and abstraction, I allow elements to exist independently while still suggesting relationships beyond their visible boundaries.

Ultimately, my work is an expression of how I look rather than what I know. Each piece becomes a space where I can linger with relationships between memory, perception, place, and time as they continually reshape one another. Through making, I give form to a way of looking that remains open, knowing that every observation is partial, every experience continues to change, and every fragment belongs to something larger than itself.

Norma Márquez Orozco