Maruschak's work points to the paradox associated with photography - the notions of absence and presence.  Drawing on concepts from psychology and philosophy she explores the malleability of memory and the confluence of space and time.  Her source imagery is derived from archival vernacular photography, Super-8 Movies, films playing on her computer screen, and her own work shot with her favorite polaroid camera or the newest digital ones. Maruschak also appears as a performative element in many of her compositions.

Maruschak's unique artistic language called fotomorfia involves reworking one-dimensional photographs into objects through the use of egg tempera, pigments, wax, damar and gold. In working in this way Maruschak underscores how the accuracy of memories shifts, how time ceases to be linear and she pushes Roland Barthes notion of a “flat death”.

Maruschak's projects are like little puzzles where the images serve as a means of capturing moving light and passing time in an object like microscopic cinematic universe.  She invites the seer to rearrange the images whose source content is individual and universal, fact and fiction.  The seer may construct his own movie. And in doing so, she also challenges the static nature of art exhibitions and proposes that the seer curate the meaning.

Fotomorfia is a laborious process which serves to distance the source material from its context of origin, infuse the final images with time embedded uncertainty and transform form through light, with the making of marks and creating auras. The process entails photographing the images with instant film; scanning them to create further distortion; reworking them digitally, printing them on handmade paper; and, painting them with egg tempera, mineral and natural pigments, gold leaf and wax. This artistic language reflects the artist’s passion for experimentation, uncertainty and interest in dissolving the boundaries between painting and photography.