Bridget Riley

Bridget Riley began painting figure subject in a semi-impressionist manner, which quickly led her to pointillism. This spurred her on to look at producing disorientating effects to the eye, and drew slowly away from pointillism, to where she is today. Each piece of work is individually crafted for the disorientation, confusion and slight bewilderment. “Although she investigated many areas of perception, her work, with its emphasis on optical effects was never intended to be an end in itself. It was instinctive, not based on theory but guided by what she saw with her own eyes” (Op).
Riley did not always work in colour, as it was a slow introduction to her black and white work. When it was introduced however, it was a welcome difference and a “music of colour”, which is what she wanted (Op.
When viewing her works at Tate Modern, London, you can see the disorientating effects of the paintings on the eye almost immediately. From afar, you can see all the details, as each colour is presented in large blocks. After moving closer, especially to the finer black and white paintings, you can see the extreme detail that goes into each one. Even when close-up to the painting, it is still disorientating due to the tightness and lack of space between the individual lines and colour. I wish to bring a part of this disorientation into my work, to confuse but bewilder the viewer.

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