Synonymous with the Op Art movement, British artist Bridget Riley uses dynamic patterns to make the two-dimensional picture plane vibrate, disorientating the viewer.
In 1964, Riley was included in New Generation at the Whitechapel Gallery, London alongside David Hockney, and in the seminal exhibition The Responsive Eye at the Museum of Modern Art, New York the following year.
Originally only painting in black and white, in 1967 Riley began exploring the relationship between colour and light which she translates into geometric forms that undulate across the canvas. “I couldn’t get near what I wanted through seeing, recognizing and recreating,” she says, “so I stood the problem on its head. I started studying squares, rectangles, triangles and the sensations they give rise to.”