Eamon Ore-Giron at Casa Siza

James Cohan is pleased to present Chilango Smoke, a solo exhibition of new paintings by Eamon-Giron, on view at Casa Siza in Mexico City from February 3 through February 28, 2026. This special exhibition coincides with the Zona Maco fair and Art Week in the Mexican capital. 

 

Chilango Smoke features paintings from Ore-Giron’s ongoing Infinite Regress series, a body of work that has continued to evolve over the past decade. Personal reflections and experiences have increasingly influenced the artist’s thinking about the series, which relies on a unique visual language combining cultural symbolism from across time and geographies.

 

The Infinite Regress paintings explore the artist's totemic visual language through an unending process of reformulation. In philosophy, infinite regress is a sequence of reasoning which can never come to an end: a paradox of infinite regeneration that disproves the concept of fixed knowledge—in connecting one element to another, a third one is always interpolated and so on, endlessly. Rejecting white canvas in favor of an earthen, brown linen, Ore-Giron uses highly pigmented flashe and mineral paint to render geometric shapes whose palette and forms recall religious iconography, sacred landscapes, and celestial bodies in cyclical, non-linear passages of time. These evocative forms shift in and out of graphic fields of gold, with each painting serving as both a variation on what came before and a projection toward future iterations. Ore-Giron's chromatic planes play with spatial recession and optical perception, self-propagating infinitely forward.

 

In the works shown at Casa Siza, Ore-Giron pulls more directly from the present and his own experiences. When the artist visited Mexico City in April 2025, one of the first things he noticed as he stepped off the plane was the smell of smoke in the air, the result of a series of wildfires burning outside of the city. Ore-Giron’s hometown of Los Angeles had recently been devastated by two large fires at the beginning of the year, and the familiar acrid scent drew a visceral connection between the two cities. For Ore-Giron, whose personal geography spans both locations, this strange echo stayed with him as he worked on this show over the course of the next several months. The artist often returned to that traumatic moment in Los Angeles and the dystopian environment produced by fires, in particular the blacking out of the sky and surreal light conditions over a period of days. For Ore-Giron, the Infinite Regress series is a way to give form to larger phenomenological events. These recent paintings are a mediation on that time in Los Angeles, which continues to reshape the city and its communities in difficult ways. 

Working at an intimate scale, Ore-Giron has created works that employ an expanded formal vocabulary. He has played with the structure of the golden geometric forms that are central to each painting and one of the hallmarks of the Infinite Regress series. He has perforated the golden forms with a series of circles, which he described as an act of “punching holes.” While these voids can be understood as openings, they also create the sense that the golden forms are screens to be peered through as they hide the movement of the forms below. The increased detailing the artist has brought to these works, which remain precise and hard-edged, lends the paintings a new level of dynamism, as if stilling a moment, capturing a fleeting impression.