In his series of paintings entitled Infinite Regress (2015–ongoing), Eamon Ore-Giron’s totemic visual language is subject to 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 linen, Ore-Giron uses highly pigmented flashe paint to render triangular and circular geometric shapes whose palette and forms recall religious iconography, sacred landscapes, and celestial bodies in cyclical, non-linear passages of time. Consisting of simple forms shifting in and out of graphic fields of gold, the paintings in this series are each a variation on the one that came before, and a trajectory into future possible iterations. Ore-Giron’s chromatic planes are subject to plays on spatial recession and optical perception as they self-propagate infinitely forward.