Eamon Ore-Giron’s Monumental Paintings Translate Cultural Symbols into Vivid Geometry — Colossal



Art

#Eamon Ore-Giron #mythology #painting

A mélange of architectural structures, cosmic mappings, South American textiles, hieroglyphics and indigenous symbols emerge in vivid and balanced colors in Eamon Ore-Gironthe paintings of. Often rendered in flashe and mineral paint on large linen canvases, the works are enveloping and visionary, transporting the viewer into the flat, geometric vistas of Ore-Giron.

Currently residing in Los Angeles, the artist is deeply influenced by his surroundings. He was raised in Tucson by a Peruvian father and mother of Irish heritage, incorporating him into a distinct blend of global cultures, from Latino and indigenous to Andean and European. The visual language of this mixed heritage is evident in his paintings, especially his more recent ones Talk shit AND Infinite regress series.

Viewing now as part of Competing with Lightning / Rival with lightning TO Contemporary Austin, the works depart markedly from Ore-Giron’s earlier figurative pieces and instead favor symmetries, geometric shapes and ancient motifs. The most vibrant of the series is Talk shit, which was born out of the artist’s time in Guadalajara, and is confronted with the gods of Mexican and Peruvian cultures. In the massive 204-inch-wide « Talking Shit with Amaru, » Ore-Giron plays the mythological creature serpentine of the Inca and Andean tradition. The two-headed beast is thought to transcend the boundaries between the spiritual and earthly worlds, appearing in the work through careful cross-sections and a shapely form leading in different directions.

Infinite regress it transitions to metallics, with broad gold streaks emanating from a central totem shape. “In philosophy, infinite regress is a sequence of reasoning that can never end: a paradox of infinite regeneration that belies the concept of fixed knowledge – in linking one element to another, one always interpolates a third and so on, all the time ‘infinite « , a declaration about the series says. Through thin lines reaching distant intersections and circles set in colored stripes, many of the works evoke a distant horizon, the ever-unattainable and ever-recurring point.

If you are in Austin, you can see Competing with lightning / Rival with lightning until 20 August. Otherwise, find more of Ore-Giron’s work at his site.

“Talking 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. Photo by Charles White/JWPictures.com, © Eamon Ore-Giron, courtesy of the artist, James Cohan, New York, and Fleisher/Ollman,
Philadelphia

“Night Shade” (2016), flashes on linen, 84 x 60 inches

“Infinite Regress CLXXXIV” (2021), flashe and mineral paint on linen, 120 x 120 inches. Photo 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 in. Photo 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 and flashe paint on linen, 120 x 156 inches. Photo by Charles White/JWPictures.com, © Eamon Ore-Giron, courtesy of the artist, James Cohan, New York, and Fleisher/Ollman,
Philadelphia

Installation view, Eamon Ore-Giron: Competing with Lightning/Rivalizando con el relámpago, The Contemporary Austin (2023). Artwork © Eamon Ore-Giron, courtesy of the artist and James Cohan, New York. Photo by Alex Boeschenstein, courtesy of The Contemporary Austin

The artist working on “Talking Shit with Amaru”

#Eamon Ore-Giron #mythology #painting

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