Quotes by Bridget Riley - Page 1

I work with nature, although in completely new terms.
Bridget Riley / Painter
Although
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Focusing isn't just an optical activity, it is also a mental one.
Bridget Riley / Painter
Activity
Also
Focusing
Mental
Optical
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Focusing isn't just an optical activity; it is also a mental one.
Bridget Riley / Painter
Activity
Focus
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For me nature is not landscape, but the dynamism of visual forces.
Bridget Riley / Painter
Dynamism
Force
Landscape
Visuals
Visual
Forces
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I never make studies from nature. They would get in the way. I make use of my mind.
Bridget Riley / Painter
Mind
Use
Way
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Painting is, I think, inevitably an archaic activity and one that depends on spiritual values.
Bridget Riley / Painter
Activity
Depends
Painting
Spiritual
Thinking
Archaic
Inevitably
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I used to build up to sensation, accumulating tension until it released a perceptual experience
Bridget Riley / Painter
Sensations
Tension
Used
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I used to build up to sensation, accumulating tension until it released a perceptual experience.
Bridget Riley / Painter
Tension
Build
Accumulate
Sensation
Perceptual
Released
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In my earlier paintings, I wanted the space between the picture plane and the spectator to be active.
Bridget Riley / Painter
Space
Active
Painting
Planes
Picture
Earlier
Plane
Spectator
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As the artist picks his way along, rejecting and accepting as he goes, certain patterns of enquiry emerge.
Bridget Riley / Painter
Accepting
Artist
Enquiry
Patterns
Picks
Rejecting
Emerge
His Way
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I think this lack of a center has something to do with the loss of certainties that Christianity had to offer
Bridget Riley / Painter
Good Christian
Loss
Thinking
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I think this lack of a center has something to do with the loss of certainties that Christianity had to offer.
Bridget Riley / Painter
Christianity
Loss
Center
Certainties
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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 / Painter
Eye
Mind
Moving
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Painting is a science pursued as an enquiry into the laws of nature...Observation is considered the key to natural science.
Bridget Riley / Painter
Enquiry
Keys
Law
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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 / Painter
Space
Focus
Painting
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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 / Painter
Artist
Choices
Personality
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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 / Painter
Quality
Magic
Order
Thinking
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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
Bridget Riley / Painter
Artist
Conflict
Mixtures
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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.
Bridget Riley / Painter
Artist
Compatible
Conflict
Early Work
Early
Inevitably
Interests
Mixture
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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 / Painter
Belief
Fixed
Focused
Interpretation
Reality
Uncertain
Disappeared
Meanings
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His 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 / Painter
Valuable
Time Know Something
Something Else
Successes
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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 / Painter
Space
Games
Play
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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 / Painter
Failure
Artist
Doe
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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 / Painter
Aquariums
Certainty
Essentials
Oneself
Painter
Play
Accepts
Deceive
Essential
Platform
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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 / Painter
Attention
Focus
Veils
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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 / Painter
Attention
Consciousness
Focus
Greater
Needed
Absorb
Behind
Fully
Painters
Though
Veil
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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 will play all sorts of different roles.
Bridget Riley / Painter
Blue
Light
Play
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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 / Painter
Accepting
Character
Way
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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 / Painter
Color
Events
Identity
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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 / Painter
Events
Eye
Moving
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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 / Painter
Space
Opening Up
Way
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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 / Painter
Exercise
Mind
Two
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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 / Painter
Art
School
Thinking
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I couldn’t get near what I wanted through seeing, recognizing and recreating, so I stood the problem on its head. I started studying squares, rectangles, triangles and the sensations they give rise to It is untrue that my work depends on any literary impulse or has any illustrative intention. The marks on the canvas are sole and essential agents in a series of relationships which form the structure of the painting.
Bridget Riley / Painter
Essentials
Giving
Squares
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Bridget Riley Quotes - Page 1

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