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Bridget Riley - From the Anxiety category:
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)
Bridget Riley - From the Belief category:
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. (Bridget Riley)
Bridget Riley - From the Choices category:
It seems the deeper, truer personality of the artist only emerges in the making of decisions... in refusing and accepting, changing and revising. (Bridget Riley)
Bridget Riley - From the Colour category:
The actual basis of colour is instability. Once you accept that in lieu of something which is stable, which is form, you are dealing with something which is unstable
in its basic character, you begin to get a way of dealing with it. (Bridget Riley)
Bridget Riley - From the Colour category:
- after two years copying Seurat's painting, Bridge of Courbevoie...
I learned from Seurat this important thing about colour and light, that 'a light' can be built from colour. I learned a great deal about interaction, that 'a blue' in different parts (the same blue) will play all sorts of different roles. (Bridget Riley)
Bridget Riley - From the Colour category:
If you can allow colour to breathe, to occupy its own space, to play its own game in its unstable way, it's wanton behaviour, so to speak. It is promiscuous like nothing. (Bridget Riley)
Bridget Riley - From the Copying category:
It was only after I had been out of the art school that I actually copied a small Seurat, and I copied it in order to follow his thought, because if you do copy an artist, and you have a close feeling for him, in fact that you need to know more about his work, there is no better way than actually to copy, because you get very close indeed to how somebody thinks. (Bridget Riley)
Bridget Riley - From the Exploration category:
An artist's early work is inevitably made up of a mixture of tendencies and interests, some of which are compatible and some of which are in conflict. As the artist picks his way along, rejecting and accepting as he goes, certain patterns of enquiry emerge. (Bridget Riley)
Bridget Riley - From the Failure category:
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)
Bridget Riley - From the Focus category:
Focusing isn't just an optical activity, it is also a mental one. (Bridget Riley)
Bridget Riley - From the Focus category:
In general, my paintings are multifocal. You can't call it unfocused space, but not being fixed to a single focus is very much of our time. (Bridget Riley)
Bridget Riley - From the Importance category:
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)
Bridget Riley - From the Limitations category:
The virtue of a small palette (very few colours), with that limitation stretches you to invent places where they can go, or rather helps to precipitate these relationships. (Bridget Riley)
Bridget Riley - From the Modernism category:
- about her optically vibrant paintings called 'Op Art'...
The eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift. One moment, there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events. (Bridget Riley)
Bridget Riley - From the Nature category:
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)
Bridget Riley - From the Painting category:
Painting is, inevitably, an archaic activity and one that depends on spiritual values. (Bridget Riley)
Bridget Riley - From the Perception category:
I used to build up to sensation, accumulating tension until it released a perceptual experience. (Bridget Riley)
Bridget Riley - From the Quality category:
The word 'paradox' has always had a kind of magic for me, and I think my pictures have a paradoxical quality, a paradox of chaos and order in one. (Bridget Riley)
Bridget Riley - From the Religion category:
I think this lack of a center has something to do with the loss of certainties that Christianity had to offer. (Bridget Riley)
Bridget Riley - From the Space category:
In my earlier paintings, I wanted the space between the picture plane and the spectator to be active. It was in that space, paradoxically, the painting 'took place.' Then, little by little, and to some extent deliberately, I made it go the other way, opening up an interior space... so that there was a layered, shallow depth. (Bridget Riley)
Bridget Riley - From the Spirituality category:
Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind. (Bridget Riley)
Bridget Riley - From the Work category:
I work on two levels. 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... the more I exercise my conscious mind, the more open the other things may find that they can come through. (Bridget Riley)
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