The work of Flor Garduño is linked to a tradition of Mexican pho- tographers that has Manuel Alvárez Bravo as one of its most important exponents and is characterized by having converted the photographic camera into an instrument with which to create poetry.Both Alvárez Bravo and Flor Garduño are poet-photographers. Through the photographic apparatus they capture – beyond the worn- out prose of the quotidian – powerfully suggestive atmospheres, people, and objects transformed, enhanced, by the aura of the poetic metaphor.Garduño’s images seem to have been stolen, not from the street or the countryside or the studio but from a deeply intimate dimension. Her photographs convey something that hovers over the flame of a more intense world.«After the book Witnesses of Time was published, with photographs that were taken throughout several trips, I got pregnant with my second child. This changed my way of doing photography.» Flor Garduño’s voice resounds with its typical sustained enthusiasm. It is an emotion that ex- ceeds all words. Her voice, like her eyes, is permanently impregnated by the marvelous. «I decided to return to the beginning, the still life and the nude, in a small adobe shed next to my house in Tepoztlán, Morelos, in Mexico, stealing some time from my activities as a mother. This book was conceived in interiors and all with natural light.»The photographs were created in the tool shed at the side of the house, in the kitchen, in the garden. A book, this book, grew over the course of a ten-year interior journey, and was enriched by the experi- ence of maternity. A book is like a flower. And this volume is effectively a flower of pages. With a candid look at the most intimate geographies, each photograph here could also be seen as a rose or an orchid.