"Light and Sensory Experience: A Study of Visual Phenomena in the Work of Dan Flavin"

Minimalism, emerging as one of the most significant artistic movements, is defined by its embrace of simplicity, repetition, and the use of industrial materials. This movement developed in direct opposition to Abstract Expressionism, a style that emphasized emotion and individual expression. Rather than focusing on personal experience, minimalist artist, turned their attention to simple, repetitive forms and spaces presented objectively, devoid of extraneous interpretation. the artist was considered the primary creator and the focal point of attention. However, minimalism shifted this focus, positioning the audience as the central source of perception. This transformation highlighted the importance of the audience's experience and interaction with the artwork, indicating that art was created not merely to be seen, but to be experienced.

Throughout the history of thought, particularly in the modern era, there has been a gradual shift in philosophical problematization—from the recognition of external references to the recognition of internal ones. In the scientific inquiries of recent centuries, particularly regarding sensory perception, the body has emerged as a locus for knowledge exploration. This shift has led to significant changes in theoretical paradigms concerning perception and cognition.

The late 19th century witnessed a perceptual turn, closely linked with the rise of modernist art, which involved abandoning conventional modes of seeing and representation. This perceptual shift, rooted in earlier ruptures within the century, fundamentally altered conceptions of vision and visual experience. During this period, vision became a central concern of modernity, with the development of tools for scientific observation, investigation, and mechanisms for exerting power. The construction of devices for simulating vision and testing perceptual hypotheses facilitated the broader use of optical devices in both scientific and entertainment contexts. Within these systems, the observer is influenced by a variety of forces that shape their perception.

Entoptic imagery—visual phenomena that originate from within the visual processing system, such as afterimages, floaters, and migraine auras—has held deep spiritual and creative significance across countless cultures for thousands of years. Despite their significance, entoptic phenomena are often overlooked in conventional interpretations of minimalism. However, they represent one of the most authentic and comprehensive indicators of an individual's relationship with the surrounding spatial forms. Since entoptic images are produced by the visual system itself, they are visible only to the observer. Considering the audience-centered nature of minimalist objects and the importance of the observer's presence, this article seeks to explore how Dan Flavin's works, particularly "Fence," can lead to a spiritual and more profound experience than conventional visual perception. The research aims to analyze the relationship between Flavin's minimalist art, the audience's visual experience, and the idealistic meanings that influence perception. The study employs a descriptive-analytical method and is qualitative in nature, with information gathered from documentary and library sources. The findings suggest that when audiences encounter Flavin's works, especially "Fence," their eyes and minds are challenged, creating a deep and, at times, deceptive experience of visual perception. This process allows the viewer to achieve a sense of unity with what they see, leading to a spiritually enriching and contemplative experience through this visual coexistence.