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'I have never studied optics and my use of mathmatics
is rudimentary and confined to such things as equalizing,
halving, quartering and simple progressions. My work
has developed on the basis of empirical analyses and
syntheses, and I have always believed that perception
is the medium through which states of being are directly
experienced. (Everyone knows, by now, that neuro-physiological
and psychological responses are inseparable).
It is absolutely untrue that my work depends on literary
impulses or has any illustrative intention. The marks
on the canvas are the sole and essential agents in a
series of relationships which form the structure of
the painting. They should be so complete as to need,
and allow of, no further elucidation. The basis of my
painting is this: that in each of them a particular
situation is stated. Certain elements within that situation
remain constant. Others precipitate the destruction
of themselves by themselves. Recurrently, as a result
of the cyclic movement of repose, disturbance and repose,
the original situation is re-stated.'
Bridget Riley, Perception is The Medium, Art News, New
York, Oct. 1965
'I discovered a well-known principle (it's always exciting
when you find things for yourself): that you cannot
have movement without it's opposite - stasis. There
is no change without a constant. If you can bring the
two things together in an image you have a dynamic,
something that is not descriptive of movement, but which
gives the sensation of it. For instance, in the painting
Descending every other vertical is straight and evenly
disposed across the canvas. So that the movement goes
in a zigzag progress through alternating straight and
curving verticals, from a narrow closing at the top
left descending to the narrow strip of diagonals at
the bottom right. It is one thing against another.'
Bridget Riley (talking to Mel Gooding), The Experience
of Painting, 1988
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