Obregón’s work explores the relationship between humanity and nature through time, space, and memory. As an architect specializing in the intervention of human constructions, she questions how memory permeates a space through deterioration, investigating how materials can testify to their past and manifest the intangibility of time. She examines the vulnerability of architecture and human structures to fragility and erosion, and how time materializes in space. She is interested in addressing memory through absence, traces, and remnants, re-signifying space through the transformation of matter.

She also reflects on the loss of rigidity of physical space in modernity, erasing borders, boundaries, and walls. She believes this transformation, driven by globalization and technology, leads to cultural homogenization, turning space into an almost portable element. In her project “Transmutations of Space,” she explores these questions and attempts to encapsulate the memory and identity of a time, experience, or culture through abstraction.

Additionally, she is interested in the concept of cyclical time, where all materiality returns to its origin, exemplifying the constant cycles of construction and destruction in how we relate to nature. She aims to capture this duality by exploring the synergy between the ephemeral and the enduring.

Currently, her practice spans various disciplines. Although many of her works originate from photography, she experiments with mixed techniques and revives artisanal processes such as embroidery, as seen in her work “Pandemic.” She uses this technique, traditionally associated with female domesticity, in a contemporary context of mass production. This represents an act of radical self-expression and a reconnection with her material roots, crafted and extracted from the earth.