The Edge of Sight and the Boundaries of Thought: Bridget Riley Works and Speaks

Posted: January 6, 2011 in Uncategorized

Bridget Riley

Bridget Riley’s Op Art conspiring with the perplexities of Seeing and conundrums of Knowing.

Composition with Circles (1998) Silkscreen

“As the artist picks his way along, rejecting and accepting as he goes, certain patterns of enquiry emerge. An artist’s failures are as valuable as his successes.. by misjudging one thing he conforms something else, even if at the time he does not know what that something else is.”                                                  Bridget Riley

Ease (1987)

“Focusing isn’t just an optical activity, it is also a mental one.” “It is important that the painting can be inhabited, so that the mind’s eye, or the eye’s mind, can move about it credibly.”                                            Bridget Riley

Loss (1964)

“I work with nature, although in completely new terms.”  “For me nature is not landscape, but the dynamism of visual forces.. an event rather than an appearance. These forces can only be tackled by treating color and form as ultimate identities, freeing them from all descriptive or functional roles.”                                 Bridget Riley

Ecclesia (1985)

“There was a time when meanings were focused and reality could be fixed; when that sort of belief disappeared, things became uncertain and open to interpretation.” “As a painter today you have to work without that essential platform. But if one does not deceive oneself and accepts this lack of certainty, other things may come into play.”         Bridget Riley

Cataract 3 (1967)

“Well I think I work on two levels. That is to say that I occupy my conscious mind with things to do.. lines to draw, movements to organize, rhythms to invent.” “In fact I keep myself occupied. But that allows other things to happen which I’m not controlling, and I think that the more that I exercise my conscious mind, the more open the other things may find that they can come through.”                                                                       Bridget Riley

Drift #2 (1968)

“I used to build up to sensation, accumulating tension until it released a perceptual experience.” “The pleasures of sight take you by surprise. They are swift, sudden, unexpected and elusive…momentarily turning the commonplace into the ravishing.  Even smells noise, taste, and touch have a visual equivalent and can be presented through the vocabulary of signs.”                                                                                                        Bridget Riley

Composition with Circles (2003)

“it was an attempt to get to the roots, the core, the basis of painting in order to rebuild it. I don’t think this necessarily precluded it taking any forms that resembled nature, but it meant starting from the elements, starting from the realities of the actual thing, and finding out what could be done, and so in that way it’s very open-ended, and I may do things that other people might think are not really abstract.”                 Bridget Riley

Bridget Riley in the 60’s

“it’s a frame of mind. I mean obviously the lines and the colours and so on are not in themselves particular, because they can be used to depict as well as to make the sort of painting that I do, but it’s an approach to them.”         Bridget Riley

Bridget Riley speaks and works  2006

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Comments
  1. Mike says:

    Adorable el juego de las lineas!!! Que genialidad de Bridget…

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