As Mexico City Art Week gathers momentum—anchored by ZsONA MACO and its surrounding constellation of exhibitions—one of the most contemplative presentations unfolds slightly off the fair circuit, in the measured calm of Santa María la Ribera. At Casa Siza, Eamon Ore‑Giron presents “Chilango Smoke,” a focused solo exhibition of new paintings that extends his long-running “Infinite Regress” series into deeply personal and environmental terrain.
Presented by James Cohan, the exhibition coincides precisely with Mexico City Art Week, offering a slower, more meditative counterpoint to the visual intensity of the fairs. Installed at Casa Siza—a modernist site that emphasizes restraint and proportion—the paintings reward close looking, unfolding gradually through rhythm, repetition, and material nuance.
Infinite Regress as Living System, by Eamon Ore-Giron
Installation view, Eamon Ore-Giron, Chilango Smoke, Casa Siza, Mexico City, Mexico, February 3-28, 2026, courtesy of James Cohan.
Eamon Ore-Giron’s “Infinite Regress” series has evolved steadily over the past decade, drawing from a hybrid visual language shaped by religious iconography, sacred landscapes, and non-linear conceptions of time. The philosophical notion of infinite regress—a sequence of reasoning without origin or conclusion—serves as both conceptual framework and compositional strategy. Each form leads to another; every resolution opens onto further uncertainty. There is no fixed center, only continuous reformulation.
Rejecting the neutrality of white canvas, Eamon Ore-Giron works on earthen brown linen, using mineral paint and highly pigmented flashe to construct geometric fields that seem simultaneously ancient and futuristic. Gold planes recur throughout the exhibition, shifting in scale and density, their surfaces punctuated by circular voids that read as apertures, absences, or portals. These perforations—what the artist has described as “punching holes”—create a layered optical experience, as if the paintings were screens concealing deeper movement beneath their surfaces.
What distinguishes “Chilango Smoke” from earlier iterations of “Infinite Regress” is the immediacy of its emotional source. When Eamon Ore-Giron arrived in Mexico City in April 2025, he was struck by the smell of smoke in the air, caused by wildfires burning outside the city. The sensation triggered a visceral memory of Los Angeles—his current home—which had recently experienced devastating fires of its own. The echo between the two cities lingered, shaping the works produced in the months that followed.
Smoke, Light, and the Architecture of Perception
Installation view, Eamon Ore-Giron, Chilango Smoke, Casa Siza, Mexico City, Mexico, February 3-28, 2026, courtesy of James Cohan.
Rather than illustrating catastrophe directly, the paintings absorb these experiences into atmosphere and structure. Darkened circular voids interrupt golden fields; chromatic planes oscillate between luminosity and occlusion. The compositions suggest blackened skies, distorted light, and suspended time—phenomenological impressions rather than narrative depictions. In this way, the “Infinite Regress” series becomes a vessel for processing collective trauma through abstraction.
Working at an intimate scale, Eamon Ore-Giron expands his formal vocabulary without abandoning precision. The edges remain crisp, the geometry disciplined, yet the increased detailing introduces a heightened dynamism. Each painting feels like a paused moment—an image caught between memory and projection, past and future. The result is a body of work that feels both deeply personal and broadly resonant, especially within the context of a city grappling with its own environmental realities.
Seen during Mexico City Art Week, “Chilango Smoke” stands apart for its quiet insistence. It does not clamor for attention, but instead asks for duration—for time spent tracing repetitions, sensing shifts, and registering the slow accumulation of meaning. In a week defined by scale and spectacle, Eamon Ore-Giron’s paintings remind viewers that some of the most urgent conversations unfold in silence.
Eamon Ore-Giron: Chilango Smoke
Installation view, Eamon Ore-Giron, Chilango Smoke, Casa Siza, Mexico City, Mexico, February 3-28, 2026, courtesy of James Cohan.
Casa Siza, Dr. Atl 103, Santa María la Ribera, Cuauhtémoc, Mexico City
February 3–28, 2026
On view during Zona Maco and Mexico City Art Week
Presented by James Cohan Gallery
Installation view, Eamon Ore-Giron, Chilango Smoke, Casa Siza, Mexico City, Mexico, February 3-28, 2026, courtesy of James Cohan.
