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… — 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
