Natural and fluorescent light
Dimensions: Variable dimensions
Reference: ACF0080
Print sheet Print sheet Add to My Collection Add to My Collection
"There are no objects in my work. There never have been. There is no image inside them. I have no objects, no images, I have no focus point. My interest lies in fathoming space." In the seventies, on the basis of those statements, James Turrell's works acquired an increasingly complex conception and a more precise construction. His interest in exercising proper control over the source of light from which his works emerge grew gradually as a result of his determination to control the (interior or exterior) space where they were to be shown. As a result of his desire to combine natural and artificial light in the same space, from the eighties Turrell created works with light in which, besides providing an unknown number of spectators with a chance to experiment with their light and space perception, reflect on the power of light over the way people relate to nature. As a paradigm for that line of investigation, in 1982 he created Rayzor, a light space of variable sizes, which is perceived as a two-dimensional space, as if it were a work by Mark Rothko or Barnet Newman. Consisting of a rectangular panel suspended at the back of an enclosed space, with which it is related by the concordance of its measurements, Rayzor is one of his works for interiors which focuses on the architecture of the space and the possibility of manipulating it optically through the light that beams into the interior. Although the work could be included in the series "Shallow-Space-Constructions" (1968), "Wedgeworks" (1969) or "Veils" (1974) because it consists of a space of very precise dimensions created with artificial light and according to the effect of reduction of the space which he was investigating, it is distinguished from those works by the kind of light used: artificial light (coming from fluorescents surrounding the support of the screen) or natural light (coming from the exterior through the wall at the back of the screen, which is why the screen must be made of glass, or at least some transparent material). That is the difference with Reamar (a work from 1968 with similar spatial characteristics, but done with artificial light) and places it in the set of investigations he has carried out around the relation between the human being (artificial light) and nature (natural light), which culminated in the project he has been engaged in since 1972 at Roden Crater, Arizona.

Works that may interest you