In Ore-Giron’s Infinite Regress series, multiple horizon lines and rays of diagonals emanating from the central orbs of a composition are a recurring motif. Radiating vanishing points suggest infinite space and time. An “infinite regress” is a sequence of reasoning in which each element in the series generates the next and so on, endlessly. In other words, there is a beginning but no end.

Gold metallic paint, which appears prominently in these works, provides Ore-Giron with a means of thinking expansively about time as well as the history of gold in the Americas. Spanish colonizers often melted down the golden objects they stole, turning them into coins and ingots—a form of both material and cultural theft. By resuscitating the forms associated with pre-colonial goldwork, Ore-Giron puts into practice a form of historic reclamation. His use of raw linen evokes the color of desert soil as well as brown skin.