Red Flush 1964

Curator: Gwyther Irwin’s "Red Flush" presents an intriguing field of color, currently held in the Tate Collections. What's your immediate take on this piece? Editor: It's like staring into a pixelated sunset… or maybe heat radiating off asphalt on a scorching day. There’s a definite sense of movement, almost dizzying. Curator: That sensation aligns with Irwin's later work, often exploring optical effects. Color theory and perception were central to his practice, especially his screenprints. Editor: You know, it almost feels digital, even though it predates widespread digital art. Each block is a decision, a brushstroke, but it builds to something larger than its parts. Curator: Precisely, it bridges the gap between abstract expressionism and the emerging computational aesthetics of its time. Irwin aimed to challenge viewers' optical expectations. Editor: I’m left pondering the relationship between the individual element and the whole experience, that tension between the grid and the organic flow—a real head-scratcher. Curator: Indeed, and how Irwin's investigations into color and form continue to influence contemporary artists working with digital media.