In the 1960s, James Turrell embarked on a groundbreaking journey that redefined the relationship between light, space, and human perception, marking him as a pivotal figure in the Southern California Light and Space movement. This period was characterized by Turrell's innovative exploration of light as both a medium and a message, a venture that began in earnest during his time at Pomona College and the University of California, Irvine. Turrell's early fascination with light was partly inspired by a visual misperception of a Mark Rothko canvas, which appeared to possess a glow in a projected image that exceeded its actual luminance. This revelation propelled Turrell to explore light not just as an illuminator of spaces but as a sculptural element capable of transforming the viewer's experience of space (The Art Story). Renting a large space in the abandoned Santa Monica Hotel, Turrell undertook laboratory-like explorations, utilizing projectors, architecture, and the natural light environment to shape light as if it were a tangible material. His Projection Pieces from this era, characterized by their hologram-like geometric shapes created by projector beams, marked some of his first significant forays into light-based art. These works were adaptable, influenced by the changing exterior light, and showcased during his first solo exhibition at the Pasadena Art Museum in 1967, firmly establishing Turrell's reputation in the art world (The Art Story). The excitement of the space race and advancements in technology during this time in Los Angeles, coupled with Turrell's personal background in aeronautical engineering through his father, deeply influenced his artistic direction. This period of tremendous optimism, where Southern California was a hub for aerospace innovation, significantly impacted Turrell's work. Alongside artist Robert Irwin and scientist Ed Wortz, Turrell engaged in the Art and Technology program of the Los Angeles County Museum of Art, contributing to projects that intersected with the training of astronauts and explored the sensory implications of space and light (Interview Magazine). Turrell's artistic endeavors in the 1960s not only explored the properties of light and space but also interrogated the very nature of human perception, setting the stage for his later, more ambitious projects like the Roden Crater. Through his work, Turrell invites viewers to engage with light and space in ways that transcend traditional art forms, encouraging a deeper awareness of our sensory and perceptual experiences (The Art Story) (Interview Magazine).