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The gallery shows seven new works in which the artist orchestrates color varying constellations of fluorescent tubes. The work was conceived specifically for the exhibition and the spatial conditions of the gallery by the artist. Irwin explores in the installations of the chromatic relations of the tubes to each other in different variations and tonal intervals. The exhibition follows directly on retrospectives, recently. At the Vienna Secession, the Whitney Museum of American Art and the Los Angeles County Museum of Art took place.
The light installations shown such as Portland Rose from 2013 consist of different long rows of vertically installed side, colored fluorescent tubes that are connected in various ways, creating an aesthetically fascinating, changing color image. Each plant has different modes that vary slightly in their intensity and in the colors and depending on the circuit cool, sensual act or diaphanous. With these works, Robert Irwin builds on its early light works from the 1970s, for which he still used bulbs at that time. The ability to create a specific atmosphere that captivated the artist then and now.
Irwin’s early work of the 1950s, however, was the gestural painting in the style of abstract expressionism, from which its so-called Line and Dot Paintings Paintings developed, which in the later discs – acrylic glass panes that reflect the light of day – resulted. Soon, the artist was painting completely behind, in favor of experimental, artistic process. Irwin opened his works far beyond the picture frame out, the only apparently describes a boundary of the artwork. He breaks with all conventions, ultimately, as he begins, with acrylic, glass, and finally to work with light as an artistic medium to investigate an extension of the vision and the realization of the space. At the same time, those works refer to the relativity of perception, because their viewing is always performed as a sensory experience.
via galeriezander.com