Bridget Riley

 

Among the many artists that we have learned about in class, Bridget Riley has stood out to me for her work on optical movement and geometric systems. Her work developed during the 1960s and is classified as Op art, or optical art, that gives the viewer the impression of movement and/or a warping of form within the two dimensional plane of the work. 

Her more widely acknowledged pieces are those in which she worked with black and white, creating gray scales. For example, the image on the right: she worked with lines and shapes, but the squares appear to be folding into a different plane, the plane behind the canvas. I think back to the algebraic concept of the x and y planes and then later in the introduction of the z plane, which is the one that exists behind and in front of points, further emphasizing the complex nature of objects that exist in a space. The contrast between the colors rendered patterns that appeared to move with the viewer, giving the works a sense of life. 

Due to the fact that her works seemingly come to life, and move with the viewer, rather than sit static on a wall, they challenged the standard and invited the audience to be participants in the works, as opposed to being viewers, separated by the white walls of the institution.  She used the concept of audience participation and played with the mathematics of shapes to make them seemingly diminish or grow in scale, juxtaposing those techniques in order to make the optical illusion of movement that not only forces the viewer to look twice, but also envelops them in a world of lines and shapes that refuses to let go without a closer look.

 

I have always found interest in chalk art done in the street. Although I have never personally seen one, I have long admired them from afar, from photographs taken at the optimal perspective. Therefore, the images seem to come to life within a world ridden with normalcy. They are seemingly out of place, making them whimsical and exciting to see. I would want to stand and see a chalk art in person, but from a point other than the ideal. I like to feel tricked by the eye; I enjoy being confused by what seems to be real and what is not, well, at least in the context of art. Similar to chalk art, Riley creates a three dimensional space within the flat surface of a canvas. Although her works do not involve a singular location for optimal viewing, they are unique in that they require that the viewer let go of the preconceived notions of flat art.

In a way, her work reminds me of Renaissance art that uses perspective to trick the viewer into seeing a bigger space than what is truly there. I am talking specifically about the altar in a chapel in Milan that appears to have more space than it actually does. The image above shows an ordinary chapel. However, the architects were faced with a limited space, so they worked around it. As you can see in the image below, the depth is forged through the use of one-point linear perspective. The image of the altar looks like has been compressed digitally, but this is its true nature! I have never seen something more confusing and impressive! It is absolutely incredible how perspective can shift and mold what we, as viewers perceive. Bridget Riley's work incorporates this concept in a contemporary display of motion and dimensionality.