Our Favourite Moments From Bridget Riley At Hayward Gallery Hayward Gallery has brought together Bridget Riley’s paintings, drawings and preparatory works spanning 1947 to 2019 – making it the largest and most comprehensive exhibition of her work to date. Displayed thematically rather than chronologically, it draws attention to the interests, thoughts and concerns that have recurred throughout Riley’s work – tracing the evolving nature of her practice. Riley is one of the most distinguished and internationally renowned artists working today, thanks to her pioneering approach to painting. She balances form and colour with a distinctive skill, yielding a continuous yet varied enquiry into abstraction and perception. All of her visually-charged works engage the viewer, bringing focus to the act of looking and how we perceive the world around us. Riley’s iconic black-and-white works The exhibition chronicles early works to recent paintings, kicking off with her infamous black-and-white series from the 1960s (Kiss, 1961, Movement in Squares, 1961 and Blaze 1, 1962). These show her innovative approach to picture making, the artist choosing to work with black-and-white to focus on the perceptual potential of her work. By taking familiar forms and shapes such as a square, circle or triangle, she puts it ‘through its paces’ in order to ‘find out what the chosen form can do.’ Riley’s iconic black-and-white works The exhibition chronicles early works to recent paintings, kicking off with her infamous black-and-white series from the 1960s (Kiss, 1961, Movement in Squares, 1961 and Blaze 1, 1962). These show her innovative approach to picture making, the artist choosing to work with black-and-white to focus on the perceptual potential of her work. By taking familiar forms and shapes such as a square, circle or triangle, she puts it ‘through its paces’ in order to ‘find out what the chosen form can do.’ Bridget Riley Ra, 1981 © Bridget Riley 2019. All rights reserved. Bridget Riley Chant 2, 1967 © Bridget Riley 2019. All rights reserved. Stripes and diagonals In 1967, Riley introduced colour into her abstract paintings for the first time with Chant 2 (1967) and Late Morning (1967-8). Using the stripe as a simple, neutral form, she used the long edges of her shapes to bring about powerful colourful interactions, pairing or grouping shades along the vertical or horizontal lengths. Riley continued to work with stripes throughout the 1970s and 1980s and they continue to be a leading element in her work. Stripes and diagonals In 1967, Riley introduced colour into her abstract paintings for the first time with Chant 2 (1967) and Late Morning (1967-8). Using the stripe as a simple, neutral form, she used the long edges of her shapes to bring about powerful colourful interactions, pairing or grouping shades along the vertical or horizontal lengths. Riley continued to work with stripes throughout the 1970s and 1980s and they continue to be a leading element in her work. Bridget Riley Chant 2, 1967 © Bridget Riley 2019. All rights reserved. Bridget Riley Painting with Verticals 3, 2006 © Bridget Riley 2019. All rights reserved Curves In the mid-1960s, seeking a way to move on from the powerful contrast of her black-and-white paintings, Riley introduced tonal sequences and curves into her work. Early curve paintings such as Drift 2 (1966) lay the foundations for her move into colour. Ten years later, she began to use the curve as a ‘rhythmic vehicle for colour,’ and between 1974 and 1981 developed a series of paintings using a limited selection of shades that crossed over each other, twisted in curves. Curves In the mid-1960s, seeking a way to move on from the powerful contrast of her black-and-white paintings, Riley introduced tonal sequences and curves into her work. Early curve paintings such as Drift 2 (1966) lay the foundations for her move into colour. Ten years later, she began to use the curve as a ‘rhythmic vehicle for colour,’ and between 1974 and 1981 developed a series of paintings using a limited selection of shades that crossed over each other, twisted in curves. Bridget Riley Rajasthan, 2012 Installation view, Bridget Riley, David Zwirner, New York, 2015 © Bridget Riley 2019. All rights reserved. Courtesy the artist and David Zwirner Photo by Tim Nighswander Bridget Riley Cataract 3, 1967 © Bridget Riley 2019. All rights reserved. Bridget Riley Movement in Squares, 1961 Arts Council Collection, Southbank Centre, London. © Bridget Riley 2019. All rights reserved. Exploring perception Continuum (1963/2005) is the only three-dimensional work that Riley ever realised. It is a continuous painted surface that spirals around itself, encircling visitors. She drew inspiration from Monet’s Waterlily series in the Orangerie in Paris and its vast, curved canvas. For Riley, Continuum (1963/2005) proved too literal because onlookers find themselves ‘in the work’ rather than visually absorbing it. Therefore, this piece represents an avenue she did not continue to pursue. Exploring perception Continuum (1963/2005) is the only three-dimensional work that Riley ever realised. It is a continuous painted surface that spirals around itself, encircling visitors. She drew inspiration from Monet’s Waterlily series in the Orangerie in Paris and its vast, curved canvas. For Riley, Continuum (1963/2005) proved too literal because onlookers find themselves ‘in the work’ rather than visually absorbing it. Therefore, this piece represents an avenue she did not continue to pursue. Bridget Riley Movement in Squares, 1961 Arts Council Collection, Southbank Centre, London. © Bridget Riley 2019. All rights reserved. Bridget Riley High Sky, 1991 © Bridget Riley 2019. All rights reserved. Recent developments In 2017, Riley began a new series using the disc as her leading form. This led to her producing a large painting titled Cosmos; a group of paintings on canvas and on the wall. In all of these works, the colours revolved around a muted palette of purple, orange and green – until 2019 when Riley added a fourth shade of turquoise. Recent developments In 2017, Riley began a new series using the disc as her leading form. This led to her producing a large painting titled Cosmos; a group of paintings on canvas and on the wall. In all of these works, the colours revolved around a muted palette of purple, orange and green – until 2019 when Riley added a fourth shade of turquoise. 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