His current work focuses on the theory of uncertainty, both as its subject and method of production. Uncertainty sits at the heart of the debate about who and what we are; whether we have free will or whether everything is inevitable. Gregor translates this into highly experimental work that tests how meaning forms under unstable conditions. The resulting paintings resist fixed interpretation, instead continually becoming, hovering between final resolution and collapse. 

He approaches painting as a space where systems of knowledge can be felt rather than explained, expressing structural and conceptual concerns as painterly decisions: repetition and disruption, accumulation and erasure, control and accident. The canvas is a field where order is repeatedly created and destroyed.

Material process is central. Paint is allowed to pool, fracture, emerge and hesitate, so that decision making is partially ceded to the properties of the medium itself. This introduces a productive instability, where authorship is shared between intention and material agency. Uncertainty is not treated as a problem to be solved, but as a condition to be inhabited. Painting becomes a way of thinking through this condition without final closure, allowing meaning to emerge through friction between control and chance.