“Speaking Shit with Amaru” (2021), mineral paint and flashe on canvas, 132 x 204 inches. All photos © Eamon Ore-Giron, courtesy of the artist and James Cohan, New York, shared with permission
A mélange of architectural constructions, cosmic mappings, South American textiles, hieroglyphics, and Indigenous symbols emerge in vivid, balanced shade in Eamon Ore-Giron’s work. Typically rendered in flashe and mineral paint on large-scale linen canvases, the works are enveloping and visionary, transporting the viewer into Ore-Giron’s flat, geometric vistas.
Presently based mostly in Los Angeles, the artist is deeply influenced by his environment. He was raised in Tucson by a Peruvian father and mom of Irish descent, embedding him inside a definite medley of worldwide cultures from Latino and Indigenous to Andean and European. The visible language of this combined heritage is obvious in his work, notably his more moderen Speaking Shit and Infinite Regress collection.
On view now as a part of Competing with Lightning / Rivalizando con el relámpago at The Modern Austin, the works make a stark departure from Ore-Giron’s earlier figurative items and as a substitute favor symmetries, geometric shapes, and historical motifs. The extra vibrant of the collection is Speaking Shit, which was born out of the artist’s time in Guadalajara, and engages with the gods of Mexican and Peruvian cultures. Within the large, 204-inch-wide “Speaking Shit with Amaru,” Ore-Giron interprets the mythological serpentine creature of Incan and Andean lore. The 2-headed beast is assumed to transcend boundaries between the non secular and earthly worlds, which seems within the work by way of cautious cross-sections and a shapely type that leads in a number of instructions.
Infinite Regress shifts to metallics, with huge swaths of gold emanating from a central totemic type. “In philosophy, infinite regress is a sequence of reasoning which may by no means come to an finish: a paradox of infinite regeneration that disproves the idea of mounted data—in connecting one ingredient to a different, a 3rd one is at all times interpolated and so forth, endlessly,” a press release concerning the collection says. By way of skinny strains reaching distant intersections and circles nestled in color-blocked stripes, most of the works evoke a distant horizon, the at all times unreachable and ever-recurring level.
When you’re in Austin, you may see Competing with Lightning / Rivalizando con el relámpago by way of August 20. In any other case, discover extra of Ore-Giron’s works on his web site.
“Speaking shit with Coatlicue” (2017), flashe on linen, 79 9/10 × 65 inches
“Black Medallion XXIII” (2023), mineral paint and flashe on linen, 72 x 72 inches. Photograph by Charles White/JWPictures.com, © Eamon Ore-Giron, courtesy of the artist, James Cohan, New York, and Fleisher/Ollman,
Philadelphia
“Night time Shade” (2016), flashe on linen, 84 x 60 inches
“Infinite Regress CLXXXIV” (2021), flashe and mineral paint on linen, 120 x 120 inches. Photograph by Charles White/JWPictures.com, © Eamon Ore-Giron, courtesy of the artist, James Cohan, New York, and Fleisher/Ollman, Philadelphia
“Black Medallion XV (Mama-Quilla)’ (2023), mineral paint and flashe on linen, 174 x 300 inches. Photograph by Charles White/JWPictures.com, © Eamon Ore-Giron, courtesy of the artist, James Cohan, New York, and Fleisher/Ollman,
Philadelphia
“Infinite Regress CLXXXVIII” (2021), mineral paint and flashe on linen, 120 x 156 inches. Photograph by Charles White/JWPictures.com, © Eamon Ore-Giron, courtesy of the artist, James Cohan, New York, and Fleisher/Ollman,
Philadelphia
Set up view, Eamon Ore-Giron: Competing with Lightning/Rivalizando con el relámpago, The Modern Austin (2023). Paintings © Eamon Ore-Giron, courtesy of the artist and James Cohan, New York. Photograph by Alex Boeschenstein, courtesy of The Modern Austin
The artist at work on “Speaking Shit with Amaru”
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