In the artistic realm of muralism, especially during Mexico's post-revolutionary fervor, Orozco's voice emanated with a distinct resonance. His art's ability to transcend political ideology and delve into deeper existential questions lends Orozco's work an enduring relevance.

One of the most striking elements of Orozco's work is the juxtaposition of dualities: darkness and light, hope and despair, conflict and resolution. For instance, his mural Prometheus (1930) at Pomona College in Claremont, California, showcases a powerful depiction of the Titan, symbolizing enlightenment and resistance.

The mural, both stark in its tonalities and passionate in its expression, reveals the duality of sacrifice for enlightenment (Grimberg, Salomon. "The Passion According to Orozco." Art Nexus, 2003). Such reflections seem to question: At what cost do we achieve progress or enlightenment?

While Diego Rivera was painting vivid, colorful narratives of Mexican history and David Alfaro Siqueiros was veering towards dynamic socialist advocacies, Orozco’s murals seemed to encapsulate the very soul of Mexico's struggle, not just politically, but also spiritually and existentially.

For instance, in the National Preparatory School in Mexico City, Orozco painted a series of frescoes between 1923 and 1927. One of the defining murals from this series is The Trench, which depicts a scene from the revolution where soldiers, in a stark, almost monochromatic palette, lie in a trench, reflecting the harsh realities and sacrifices of war.

The existential reflections in Orozco's work might find parallels with existentialist philosophers of the 20th century, such as Jean-Paul Sartre and Albert Camus. Both the artist and the philosophers grappled with the concepts of human freedom, despair, and the search for meaning in an often chaotic world.

While Orozco's murals like Catharsis (1934) showcase the dehumanization of society with figures contorted in anguish amidst symbols of chaos and decadence, they also offer a glimpse into the human spirit's persistent struggle. This duality, of observing both despair and the hope or search for meaning, is a recurrent theme in existential philosophy, establishing Orozco as not just a muralist but a profound thinker of his times.

In the contemporary world, with the onset of rapid globalization, technological advancements, and socio-political shifts, the questions Orozco posed about identity, sacrifice, and the human spirit's resilience remain incredibly relevant. The universality of his themes makes Orozco's work relatable even today.

The fragmentation of society, the challenges of modernity, and the quest for genuine human connections are themes present in various contemporary art forms, from digital art to film, suggesting that Orozco’s concerns were not just tied to a particular era but were profoundly universal. José Clemente Orozco, through his murals and paintings, captured the essence of not only Mexico's socio-political history but also the deeper existential concerns that permeate human existence.

In a world continuously in flux, Orozco's works serve as a mirror, reflecting both societal evolutions and the unchanging core of human concerns. His ability to combine the political with the philosophical, the external with the internal, has solidified his position as not just an artist of his time but a timeless visionary whose discourse continues to be pivotal in art and beyond.

Orozco's mastery lay not just in the grand themes he tackled but also in the nuanced visual language he employed. His ability to use color, form, and composition to evoke powerful emotional responses deepened the impact of his messages, making them not just visible but viscerally felt.

While Diego Rivera often employed vibrant hues to illustrate Mexico's lush history, Orozco opted for a more restrained palette. This choice was deliberate. The muted tones in works like Epic of American Civilization (1932-34) at Dartmouth College force the viewer to focus on the raw emotion and gravity of the scenes depicted.

This visual austerity is not just stylistic but symbolic, reflecting the somber realities and complexities of the subjects Orozco often grappled with (Lopez, Rick A. "Painting the Conquest: The Mexican Indians and the Chicano Indianists." The Americas, 2005). Orozco's compositional choices also played a pivotal role in articulating his philosophical and socio-political musings.

The enormity and dominance of his figures, often placed centrally, capture attention immediately. However, the genius lies in the intricate details and the relationships between various elements in his murals. In The Epic of Modern Man at the Hospital de Jesús in Mexico City, Orozco's representation of modern man is not as a singular entity but as a myriad of figures, each symbolizing different facets of modernity and progress.

The composition, brimming with movement and intensity, encapsulates the chaos, promise, and paradoxes of the modern age. Orozco's work was in continuous dialogue with that of his contemporaries, notably Rivera and Siqueiros. While the trio shared the overarching objective of chronicling Mexico's socio-political narratives, each approached this goal distinctly.

Rivera's works were often buoyant, glorifying the Mexican proletariat and indigenous heritage. Siqueiros, on the other hand, was unapologetically militant, infusing his murals with revolutionary zeal. Orozco's path, though, was marked by introspection.

His murals, while reflecting the societal zeitgeist, also delved deeper into the human psyche, often highlighting the tensions between individual aspirations and societal constraints. This intrinsic exploration distinguishes Orozco, positioning him not just as a chronicler of history, but also as an astute observer of the human condition.

Orozco's influence was not confined to Mexican shores. The universality of his themes found resonance internationally. Artists from diverse regions and disciplines, from American abstract expressionists to European surrealists, found inspiration in Orozco's oeuvre.

His influence on Jackson Pollock, for instance, is particularly noteworthy. Pollock's early works reveal a clear admiration for Orozco's expressive technique and thematic depth (O'Connor, Francis V. "Jackson Pollock’s 'Eyes in the Heat' and Orozco." The Bulletin of the Museum of Modern Art, 1966).

José Clemente Orozco's contribution to the world of art is immeasurable. His murals are not just aesthetically captivating but are imbued with profound meaning, forcing viewers to introspect, question, and ponder. By seamlessly melding the political with the personal and the societal with the spiritual, Orozco's artistry offers a timeless reflection on the human experience.

In today's rapidly changing world, Orozco's explorations, both visual and thematic, stand as powerful reminders of the enduring essence of humanity.