“Infinite Regress LXXXV” by Eamon Ore-Giron
At first glance, Eamon Ore-Giron’s paintings resemble studies in geometry, with circles and sharp angles that interconnect like intricate crop circles—albeit ones created by a seasoned abstract master, not alien spacecraft. But with Darién Gap, Ore-Giron is trying to make an altogether different statement.
Named after the land bottleneck from Panama to Peru that connects North and South America (and, one can argue, separates them culturally), the exhibition is Ore-Giron’s attempt at “examining the art historical legacies of the Global South and those of the Western canon side by side,” as gallerist Nina Johnson-Milewski puts it.
“I have long been an admirer of Eamon’s work, so I was delighted when a mutual friend put us in touch for a studio visit. I instantly knew his transcendental work would resonate with our audiences,” adds Johnson-Milewski. “I’m always trying to find ways to bridge Miami to the rest of the global art dialogue, and this was a great way to do that.”
Using flashe paint on raw linen, Ore-Giron fuses the visual traits so common in Peruvian gold work with the refined geometry of constructivism and hardcore abstraction. At the Nina Johnson gallery, eight new works will be arranged in a way to surround the viewer to form a vista, along with a series of larger-scale paintings recently revealed at the San Francisco Museum of Modern Art, all of which introduce new colors to Ore-Giron’s always-precise palette. The pastels are inspired by hazy sunsets, those fleeting moments between day and night that signify the passage of time.
“Eamon’s work asks the viewer to connect to a higher consciousness through the powerful use of color and geometry,” says Johnson-Milewski. “In moments of such political instability, it’s important to look at work that empowers us to transcend the fraught tensions of our world.” Dec. 2-Jan. 4, 6315 NW Second Ave., Miami, 305.571.2288
Photography by: Photo courtesy of Eamon Ore-Giron and Nina Johnson Gallery
