Irwin became so consumed with his ability to control everything that the shadow cast on the wall by the frame became his handicap. Thus the entrance into "the phenomenology of the mind, the primacy of perception."
In 1968 Irwin began to think about energy [as material] instead of matter. He conversed with
Dr. Richard Feyman, and later met with James Turrel and Dr. Wortz who joined together on an art and technology effort. They spent 6-8 hours in an anechoic chamber testing the powers of perception, which appeared most dramatic when you stepped out - the world did not appear the same. This was due to a change in threshold, absolutely no audio/visual input.
"If the doors of perception were cleansed, everything would appear to man as infinite." William Blake
He creates situations that must be SENSED and EXPERIENCED; description is inadequate, there is no verbal or photographic substitute.
"Aesthetic perception itself was the pure subject of art. Art existed not in objects, but in a way of seeing." (Lawrence Weschler, Seeing is Forgetting the Name of the Thing one Sees, p. 186)
Everything Irwin created is site generated - In response to . . .
Slant Light Volume, 1971
Scrim gives SUBSTANCE and TANGIBILITY to light
Two Running Violet V-Forms
(Stewart Collection), 1986
Two suspended violet plastic chain link fence forms expose the geometric regularity of the man made eucalyptus grove
Installation at MCASD (LaJolla), 1992
Squares cut from the windows allow the sea breeze to enter the room and be felt on the face
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