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Overview
"Focusing isn’t just an optical activity; it is also a mental one."
- Bridget Riley
Bridget Riley, a pioneering figure in the Op Art movement, has transformed the way audiences experience optical and chromatic effects. Born in Norwood, London, in 1931, she spent her early years in Cornwall and Lincolnshire before studying at the Royal College of Art. Initially working in a semi-Impressionist style, Riley’s approach took a revolutionary turn in the 1960s with her exploration of geometric patterns that disrupt visual perception. Her groundbreaking work Movement in Squares (1961) marked the start of her journey into Op Art, a genre defined by its dizzying, kinetic effects on the viewer’s eye.
In 1967, Riley introduced color into her work with the *Stripes* series, expanding her compositions into vibrant fields of visual tension and movement. This shift allowed her to examine the interaction of hues, with each piece becoming a study in the dynamic potential of color and form. Her work’s distinct energy attracted attention across disciplines, including fashion, but Riley maintained her commitment to painting, further cementing her status as one of Britain’s most innovative artists.
Throughout her career, Riley has continued to evolve, engaging viewers in the physical experience of looking. Major exhibitions, including her first solo show at the Hayward Gallery in 1971 and a retrospective there nearly 50 years later, have celebrated her enduring impact. Spanning over seven decades, Riley’s work is a testament to her mastery of optical phenomena, solidifying her legacy as a central figure in modern art.
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Series
Bridget Riley
Nineteen Greys D, 196876 x 76height 29 7/8 in
height 76 cmEdition of 75Series: Nineteen GreysCopyright The ArtistCreated in 1968, Bridget Riley’s *Nineteen Greys* series is a masterful exploration of tonal variation, using subtle gradations to evoke depth and a sense of motion. In each of the...Created in 1968, Bridget Riley’s *Nineteen Greys* series is a masterful exploration of tonal variation, using subtle gradations to evoke depth and a sense of motion. In each of the four screen prints, Riley meticulously arranges 19 distinct shades of grey in a precise, ordered formation, inviting viewers to engage with the nuances of tone as they shift across the surface. Though monochromatic, the prints give an impression of dynamic movement, as the gradation of greys seems to ripple and flow, creating a tension between flatness and spatial illusion. This optical play exemplifies Riley’s ability to achieve powerful effects with simplicity and precision.
Riley’s skill in handling tonal shifts allows her to create a mesmerizing visual rhythm that captivates the eye, even without the use of color. The gradual shifts between the shades in each piece lend the prints a three-dimensional quality, as certain greys appear to advance while others recede. This careful manipulation of light and shadow echoes Riley’s broader body of work, where she often employs slight variations in form and hue to explore how perception can be altered by the arrangement of basic visual elements. *Nineteen Greys* is thus a study in how minimalism can yield intricate optical illusions that evoke a strong sense of movement.
Through *Nineteen Greys*, Riley reaffirms her position as a leading figure in Op Art, pushing the boundaries of perception with a restrained and carefully balanced palette. Each print in this series encourages viewers to look closely, observing the almost imperceptible transitions between tones that give rise to a sense of spatial depth. These works are quintessentially Riley, embodying her ceaseless dedication to experimenting with visual perception, form, and tonal precision. The series highlights her talent for transforming simple gradations into immersive experiences, where grey becomes more than a color—it becomes a shifting, almost kinetic presence.
