I work on two levels. I occupy my conscious mind with things to do, lines to draw, movements to organize, rhythms to… — Bridget Riley Copy Share Image
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 Copy Share Image
It was only after I had been out of the art school that I actually copied a small Seurat, and I copied it in… — Bridget Riley Copy Share Image
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… — Bridget Riley Copy Share Image
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… — Bridget Riley Copy Share Image
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,… — Bridget Riley Copy Share Image
The word 'paradox' has always had a kind of magic for me, and I think my pictures have a paradoxical quality, a paradox of… — Bridget Riley Copy Share Image
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… — Bridget Riley Copy Share Image
His failures are as valuable as his successes: by misjudging one thing he conforms something else, even if at the time he does not… — Bridget Riley Copy Share Image
The actual basis of colour is instability. Once you accept that in lieu of something which is stable, which is form, you are dealing… — Bridget Riley Copy Share Image
In my earlier paintings, I wanted the space between the picture plane and the spectator to be active. It was in that space, paradoxically,… — Bridget Riley Copy Share Image
I work on two levels. I occupy my conscious mind with things to do, lines to draw, movements to organize, rhythms to invent. In… — Bridget Riley Copy Share Image
