A Quote by Bridget Riley
In my earlier paintings, I wanted the space between the picture plane and the spectator to be active.
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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.
I think words come between the spectator and the picture.
A picture is nothing but a bridge between the soul of the artist and that of the spectator.
I started doing sculpture in 1959. I had no commissions then. They were painted, similar in style to the paintings... At a certain point, I decided I didn't want an edge between two colors, I wanted color differences in literal space.
If 'Spectator Business' works, we will continue this brand extension strategy and look at everything from 'Spectator Arts' to 'Spectator Style and Travel' or 'Spectator Connoisseur.'
I wanted it not to be true. I wanted it not to be her plane. I wanted it - I wanted, if it was her plane, to have somehow survived because she was in the back of the airplane. But we know that doesn't happen, not with those sorts of things.
The artist invites the spectator to take a journey within the realm of the canvas... Without taking the journey, the spectator has really missed the essential experience of the picture.
I'm using the grid as formation. I wanted a relationship between the paintings and videos so that way when you are looking at the videos there's a direct relationship to the paintings.
Height, width, and depth are the three phenomena which I must transfer into one plane to form the abstract surface of the picture, and thus to protect myself from the infinity of space.
There must be an open space in the paintings - an entry space for the viewer, or even for me. Just white space where you can get into it.
Picture books are being marginalised. I get the feeling children are being pushed away from picture books earlier and earlier and being told to look at 'proper' books, which means books without pictures.
Picture books are being marginalised. I get the feeling children are being pushed away from picture books earlier and earlier and being told to look at proper books, which means books without pictures.
I wanted to make pictures that contradicted themselves. I wanted to put one picture on top of another so that there were times when both pictures disappear and other times when they were both manifest. That vibration is basically what the work was about for me - that space in the middle where there is no picture, rather an emptiness, an oblivion.
Modern paintings often seem to have been made quickly, by comparison with the paintings of earlier centuries, and that seems to give us the license to look at them quickly - to consume them and move on.
Some people might think that the paintings are involved with a mythic - not just subject matter - but a certain sort of physical space that the paintings occupy...like personages.
He wanted to care, he wanted to care so badly, but there was this gap between what he felt and what he wanted to feel, a space where something important had been carved out.
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