Piccadilly 2012

Curator: Robert Irwin’s 2012 installation, “Piccadilly,” presents a compelling engagement with light and space. Editor: It has a rhythm to it, almost like a barcode. The stark vertical lines of the fluorescent tubes create a compelling, if somewhat sterile, aesthetic. Curator: Exactly. Irwin is playing with the industrial, turning utilitarian objects into something contemplative. He uses those fluorescent lights, everyday materials, to redefine our perception of space. Considering how accessible these materials are, and the kind of labour required for their setup, what do you make of its value? Editor: For me, the real value lies in the formal relationships he establishes. The way he plays with the negative space between the lights, the subtle variations in color… the slight shifts from cool to warm. It evokes a specific, almost dreamlike, quality of light. And I also consider the relationship with the existing architectural space; those two become entangled. Curator: But the gallery itself is implicated, isn’t it? The piece’s existence here demands the space and labour, the material resources for it all. That’s part of its meaning. Where were these tubes manufactured? Who assembled and installed them? Editor: Perhaps. Still, when I look at this piece, my first impression centers on the purely aesthetic impact. The modular construction evokes seriality and rhythm. Curator: I would rather point out that the serial nature of these tubes underscores the factory that birthed them. And how many were rejected to ensure a “perfect” piece. What materials comprise the work? Who mines those materials, where, and under what conditions? Those questions should concern us, too. Editor: Ultimately, this work provides ample room to investigate how light articulates with architecture, no matter which framework we consider more relevant. Curator: A sentiment I share, with an added stress on our implication in its web of production.