
The human body is a resounding theme throughout Morquecho’s collections; the overwhelming vitality of life is relentlessly celebrated in his vibrant compositions, particularly when observing his ‘Street Photography’ oeuvre in which he depicts mankind across the world enwreathed by antipodal circumstances, in their most honest and authentically individual semblance. Whilst Morquecho often presents a sincerely joyous representation of society, his refined talent enables him to sensitively proffer a more severe perspective; by depicting issues of poverty and homelessness the artist starkly confronts the viewer with images of the modern world’s undeniable affect on society. In this sense, parallels can be found between Morquecho’s work and that of Social Realist photographer Dorothea Lange, both of whom have explored expansive continents to photograph an extraordinarily diverse selection of humanity, while expressing a firm socio-political awareness of immutable subjugation. This collection provokes deep thought in the viewer as a complex web of freedom, identity and destitution are simultaneously contemplated via Morquecho’s fluent visual language, whilst provoking tangible intellectual ties to the Dada movement in his presentation of society.

Inextricable links are rendered with the work of Francesca Woodman when considering the frequent iconography in which individuals interact with land and buildings. Indeed, both artists allow their models to organically conjugate with their environment with a captivating effortlessness and in so doing cast forth their academic thoughts in relation to life, nature and object. These primordial interactions provoke a sense of mystery and intrigue in the viewer; their connections are intense yet undefined in their spiritual aura. Closer analysis of Morquecho’s predilection to present images of these structures creates further correlations with movements such as Vorticism and Constructivism when considering their detailed approach to the forms and shapes which manifest in their physical presence.
In Morquecho’s fervent quest to unite man with nature he regularly incorporates humans and animals either partially or fully submerged in large expanses of water, drawing irrefutable comparisons with video artist Bill Viola. Both artists utilise the extensive symbolism heralded by water to articulate the dynamism of life. While Viola’s work stimulates erudite thought regarding corporeal matters such as birth and quietus, Morquecho academically propounds a deeper intrinsic connection between animal and aqua and, as such, reflects wider concepts referencing the expanse of nature. The viewer is prompted to cogitate the inherent affinity between the nude figures and water, allowing for comparisons with the work of David Hockney and through which Morquecho presents a captivating expression of what it means to be alive. He manipulates the position and posture of his subjects to further solidify the understanding of his message; at times the bodies seamlessly enter the water so entirely that they appear to merge into one another, whilst in other instances man seems to be a wholly separate entity that playfully interacts with the overwhelming force and power of the sea as the visceral movement of the tides exemplifies the strength of the ocean that remains, as ever, irrevocably calm yet disrupted by the vault of man.
Morquecho’s photography superbly captures the liminality between various factions of reality; the artist’s sophisticated approach to the works enables their fantastical depictions to hold an imperishable resonance with the viewer. Morquecho’s compositions are utterly captivating in their ability to share profound narratives with a tenderness and unassailable point of view, while also exhibiting Morquecho’s uncompromised creative capabilities.