Marlon Portales Cusett, rather than "reflecting" landscapes and people, is interested in recreating the action of time and memory about those places and those characters. That is, the document you always start from is not the most important, even if it defines the beginning of the path. The artist will "decompose" with the artifice to recreate that diffuse nature of memories.
It happens, for example with one of his series, Grand Tour (2017). Marlon traveled to Germany and the United States and was creating a collection of photographs of the places he visited, emblematic or not. Then, in the study, he created idyllic images from those records, somehow evoking the sensitivity and palette of certain impressionists.
One thing is the object and another is the idea that we take from that object. Over time, that vision is changing, it is diluted, and in the end only the elements that marked us persist, with certain emphasis, which may even be products of our imagination.
That has been the subject of much of the universal artistic creation and is the axis of these works of Marlon. The visuality in the series is harmonious, rested, oblivious to all stridency, as if shying away from conflicts.