Orozco: I’m just a dreamer. I’m a nomad with a great sense of curiosity, trying to understand the relationship between objects and human beings. That’s the excuse I have to expose the ideas I have in my head. I’m an artist who understands the process of solving problems. We must have a pulse on how people live. When we don’t study culture, when we ignore it, then our job as designers becomes intellectual. That’s good for museums, but not for our industry. When I really start to read into my clients’ minds, it’s truly a wonderful feeling because then both of us are marching towards an objective.
I went to school for music for 18 years, learning the violin. When I moved to Europe to continue my music studies, my aesthetic for furniture and lighting started to appear. I had more interest in dealing with the objects people use than playing music. There’s an intimate dialogue and conversation between human beings and furniture. We sit on it, eat on it, sleep on it, light ourselves with it. Music is my first love. But my true love is furniture. Different interests have also arisen, and I call those my “affairs.” My “affair” with lighting is now in the 22nd year. It’s not a love affair that I hide. It’s a love affair I’m happy to have.
Design in the gestation period is a lonely endeavor. It’s you and ... you! But slowly it turns into a million possibilities. The real struggle begins on what to take off. These days, less is more. But, the less decoration and ornamentation you put on products, the more difficult the design becomes, because you expose the manufacturing quality and the true lines of the design. I think my work is a destination. I bring to you jewelry for the home. It doesn’t need many things, but reflects an understanding of your environment. This makes the product livable for many decades.
The material we now use most is steel. The industry has become very creative in using steel in different ways. Plate it or paint it — the festival of possibilities that you can achieve are just beyond anybody’s thoughts. The second material is glass — flat glass, extruded glass, pressed glass, blown glass, art glass, borasilicate glass. Any way you do glass is not going to be trendy, but one in which you can create different feelings and moods.
In January, I came out with a collection for Quoizel  called Uptown. The term “uptown” doesn’t have a collateral intent of what style it is — it’s not Gothic, Classic, Baroque or Victorian. It’s more about sentiment, mood, environment and setting. This collection is an homage to one of the greatest sources of inspiration in my life, New York City. I’ve lived in Paris, Rome and cities in South America. Of all the cities I’ve lived in, New York has the greatest variety. New York is a cauldron of so many cultures and thoughts and ideas. At the same time, it’s a city where individuality stands by itself. Uptown renders a window, through lighting, to the different views of Manhattan
that make Manhattan so special.