She attended Goldsmiths College and the Royal College of Art and is one of the foremost exponents of an international abstract movement known as Op Art (Optical Art) which is concerned with visual effects and illusion. Why is Mexico splurging on an art park when state aid is being slashed? ‘Nataraja’ © Bridget Riley 2015. My greatest admiration for Bridget Riley’s work is how expressive she is. Those controls that force you to dart from here to there, then back into your own head. Bridget Riley has inspired an entire generation of artists who followed her and who in turn influenced my work. All rights reserved, courtesy Karsten Schubert, London, Final Artwork Evaluation and Group Feedback. Her collaboration with Ad Reinhardt for Ian Hamilton Finlay’s Poor.Old.Tired.Horse is a personal favourite and this modest book is the perfect example of such connectivity. Long stuck with the reductive label of Op artist, Riley has established herself as a major modern painter in line with a tradition that reaches back to Seurat’s pointillism and Matisse’s cutouts. Pointillism is a method of creating a picture built up of small dots of complementary and contrasting colours. She represented Great Britain at the Venice Biennale in 1968 where she was the first British contemporary painter and the first woman to be awarded an international prize for painting. She gives me a headache both philosophically and physically as I find her work visually repellent and uncompromising in its intention to test the parameters of space and colour. 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She has also created murals and was commissioned by the Imperial College Healthcare Charity Art Collection in 2014 to produce a permanent mural for St Mary’s Hospital, London. Her interest in the diffusion of light through colour resulted in variations of shapes and palettes producing the effect of warmth and vibration. Bridget Riley has inspired an entire generation of artists who followed her and who in turn influenced my work. The fashion, design and advertising industries fell in love with its graphic, sign-like patterns and decorative value. Riley’s influence is there in what I do, graphic and directional patterns are repeated and move in 360 degrees, stepping off the canvas or out of and away from a situation. Riley uses a double tilted ellipse in various combinations that suggest the letter ‘O’ seen from different angles and cut-and-pasted the layout of Reinhardt’s text -fragments in rotated blocks throughout the eight page booklet. To break out of the tedium of our existence, or perhaps just to enhance it somehow for a while.’, ‘Bridget Riley has played an important role in the development of my work. Widely known as an icon of Op art, Riley first came to prominence in the 1960s – notably after her participation in The Responsive Eye exhibition at MoMA in 1965 – creating visually disruptive black-and-white paintings that actively engaged the viewer’s perception, using geometrical patterns that were quickly taken over by the fashion and design industries throughout the ‘Swinging Sixties’. Upon looking at http://www.tate.org.uk, I discovered the works of Bridget Riley. Change ), You are commenting using your Google account. By continuing to use our site, you accept our use of cookies, revised Privacy. View all posts by charlottemurphyart. ‘In his theory of General Semantics, Alfred Korzybski argued that human knowledge of the world is limited by the structure of language and the human nervous system. It’s almost impossible to put into a few sentences the impact her canvas paintings, works on paper and wall paintings have had on me. Her own exhibitions have been held in many prestigious galleries including the Museum of Modern Art (MOMA) New York City, Tate Britain and National Gallery. Shadow Play, an oil on canvas painting from 1990, was typical of her later work. ‘I first observed Riley’s work as a teenager growing up in rural Ireland, in the books that were available to me at the time. All rights reserved, courtesy Karsten Schubert, London, ‘Blaze’ © Bridget Riley 2015. ( Log Out / Her own development, with its shifts in emphasis and orientation achieving sometimes apparently contradictory outcomes, has been stimulating and inspirational. ( Log Out / Her early work was figurative with a semi-impressionist style. The term ‘Op-art’ is inseparably connected with her. Around 1960 Riley began to develop her signature Op Art style consisting of black and white geometric patterns. A beautiful and humble object, where neither artist plays the dominant role, thus sits perfectly in the world of concrete poetry for which Finlay was such a catalyst in the 1960s, suggesting real friendship between the two artists skilfully exploited by the publisher. Bridget Louise Riley was born in Norwood, London on 24 April 1931. Her collection of work is very broad and experimental, and can be used as inspiration for my ‘Maps, Borders and Networks’ theme as the majority of Riley’s work is based upon repetition- whether it is in lines, colours or structures. In her more recent work, the very geometrical constructions have evolved into more fluid and swaying arabesques defining larger and uneven planes of softer colours, reaching another level of complexity. Bridget Riley is an abstract painter who came to prominence in the American Op Art movement of the 1960s, after her inclusion in the 1965 exhibition “The Responsive Eye” at The Museum of Modern Art. Her influence upon my work has not been triggered by a specific painting but like most cultural phenomenon, Bridget’s shadow has crept onto the fringes of my consciousness where it has remained, indelible and concrete in its assertive energy.’. They met having both been in The Responsive Eye at MoMA New York and Reinhardt became something of a mentor to the young Riley, taking a protective attitude with copyright breaches of her work by the New York fashion world. “Focusing isn’t just an optical activity it is also a mental one.” Bridget Riley, Buster is one of Christine’s four entries for the Friends of Eastbourne Hospital’s Annual Art…, First scene from the Bayeux Tapestry, one of a series of eight pen & ink…, Rachers on Canvas: two sisters, one platform, let's roc.
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