Artwork
#Eamon Ore-Giron
#mythology
#portray
“Speaking Shit with Amaru” (2021), mineral paint and flashe on canvas, 132 x 204 inches. All pictures © 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 coloration 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.
At the moment primarily based 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 world cultures from Latino and Indigenous to Andean and European. The visible language of this blended heritage is clear in his work, significantly his newer Speaking Shit and Infinite Regress sequence.
On view now as a part of Competing with Lightning / Rivalizando con el relámpago at The Up to date 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 sequence 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 believed to transcend boundaries between the religious and earthly worlds, which seems within the work via cautious cross-sections and a shapely type that leads in a number of instructions.
Infinite Regress shifts to metallics, with broad swaths of gold emanating from a central totemic type. “In philosophy, infinite regress is a sequence of reasoning which might by no means come to an finish: a paradox of infinite regeneration that disproves the idea of fastened information—in connecting one factor to a different, a 3rd one is at all times interpolated and so forth, endlessly,” a press release in regards to the sequence says. By 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.
In the event you’re in Austin, you’ll be able to see Competing with Lightning / Rivalizando con el relámpago via 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. Picture 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. Picture 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. Picture 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. Picture 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 Up to date Austin (2023). Paintings © Eamon Ore-Giron, courtesy of the artist and James Cohan, New York. Picture by Alex Boeschenstein, courtesy of The Up to date Austin
The artist at work on “Speaking Shit with Amaru”
#Eamon Ore-Giron
#mythology
#portray
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