Robert Irwin

Untitled, Robert Irwin, 1962–63

I had not heard of Robert Irwin’s work before and I’m extemely amazed by our overlapping artistic interests. I’ve struggled with considering myself an image-maker because I’m not very interesed in images, I’m interested in the relation between images, thought and reality. This also seems to be a strong preoccuption of Irwin, who is also inspired by Merleau-Ponty. I’m particularly amazed by the relevance of his work to over 10 years of my work involving live cameras, site-specificity and the questions of objects and boundaries (Resurfacing, Memory Association Machine, Dreaming Machine, Watching).

In the context of the Zombie Formalist, he is interesting in that his work seems to be covering a territory of exploration that has been described as evolutionary. His iterest in purity as a method of removing the arbitrary is also something we both share. I may go so far as to say we are both embarking on art as philosphical inquiry. There is also an articulation of the gap between perception and cognition / recognition. Most interesting is the idea of the painting to be a result of the viewers perceptual participation. This fits very well with the ZF, that does very little without the attention of the viewer. There is also this bleeding of the work and its evironment, which is interesting in the context of a potential ZF that uses the colour palette of its context in the construction of its images.

Some of the most striking overlaps are made explicit in Claudine Humblet’s articulations from The New American Abstraction (1950–1970): “The ultimate goal of art is to renew vision and invite the viewer to recapture the meaning of the real” (p.1657). Also the idea that Irwin’s art “[q]uestion[s] the very source of perception” (p.1659).