After studying Fine Arts in Sevilla and Barcelona he completed his studies in Columbia University, New York, where he moved in 1986. This city marks his creative and professional development as a painter. After a period of research confronting the elements of painting in terms of irreducible facts, color and light became the main concern of his work.
In the early 90s he begins to photograph in the microscope cross sections of his old paintings. The intensity, concreteness and material truth he found through those photographs revealed the contrast and the correlation between simple, raw materials and the more inscrutable and transcendent nature of painting. He developed techniques to build massive colors from chromatic ideas that offered the possibility of being unweaved and later reassembled as an illusionistic surface.
Material color, mediated by the transit of light through paper thin layers, becomes in his works a unique perceptual experience belonging to the medium of painting. This merging of translucent layers of color shapes the incoming light while still allowing the eye to traverse them through to the white canvas. Dissolving formal outlines and replacing drawing and form with radiating colors and deep space, his paintings offer rich surfaces that suggest something beyond painting. They appear transparent and candid, but they hide all traces of gesture, process, and, meaningfully, the precise location of color.
Irazabal’s paintings are defined at once by extreme luminosity and complex color. They keep an ongoing challenge to unite the certainty of materiality with the unreliable nature of perception in order to synthesize image, materiality and meaning.
He has exhibited his work in New York since the early 90’s. He also presents his work regularly in Germany, Italy and Spain. His Works are in the Collections of the Guggenheim Museum, Bilbao, Fundación Helga de Alvear, Cáceres, Museo Patio Herreriano, Valladolid, Artium Museum, Vitoria, Akzo Nobel Foundation, Amsterdam, H+F Collection, Rotterdam.