First monograph: American artist Eamon Ore-Giron's hard-edge paintings
combine Native American traditions and European abstraction. This
publication offers a dialogue between his ongoing Infinite
Regress series and the prose of poet and scholar Edgar
Garcia.
Eamon Ore-Giron (born 1973 in Tucson, Arizona, lives and works in Los
Angeles) blends a wide range of visual styles and influences in his
brightly colored
abstract
geometric paintings realized on raw linen and canvas. The artist
grew up in the Southwestern United States and has spent significant time
in Spain; Peru, where his father is from; and Mexico. Ore-Giron's travels,
personal biography, and his formal education as a fine artist—he received
an MFA from the University of California, Los Angeles—have shaped his
artistic vocabulary, which references
Native
American medicine wheels, Amazonian
tapestries,
the
Mexican muralists,
Russian Suprematism, and
Latin
American Concrete Art,
as well as hard-edged abstraction and European modernism. Ore-Giron also
works in video and music, as part of collaborative endeavors and as a
musician and
DJ. He is
keenly aware of the history and cross-cultural evolution of musical
styles. In a similar vein, his work makes manifest a history of the
transnational exchange that has informed painting. He has said that his
work “originates from a certain nostalgia for a global modernism” and the
notion of a universal visual language. With his comprehensive approach,
which marries Latin American aesthetics and indigenous
craft and folk
traditions with a 20th-century avant-garde, Ore-Giron creates a unique
artistic style that feels at once timeless and contemporary and resonates
across cultural contexts.
Solo exhibitions have been presented at LAXART, Los Angeles (2015);
Nicelle Beauchene Gallery, New York (2013); Pérez Art Museum Miami (2013);
MUCA ROMA, Mexico City (2006); Queen's Nails Annex, San Francisco (2005);
and the Pennsylvania Academy of the Fine Arts, Philadelphia (2005).
Ore-Giron's work has been included in group shows at the SFMOMA, San
Francisco; Hammer Museum, Los Angeles; Whitney Museum of American Art, New
York; Los Angeles County Museum of Art; Museo Tamayo, Mexico City;
Prospect.3, New Orleans; and Deitch Projects, New York. His work has been
covered in
The New York Times,
The Los Angeles Times,
Artforum,
ANP
Quarterly, and
SFAQ, among other publications.
