De La Warr Pavilion

#12. Geoff Hands writes on Bridget Riley at DLWP

Bridget Riley, The Curve Paintings 1961-2014 installation at DLWP. © Bridget Riley 2015. All rights reserved, courtesy Karsten Schubert, London

Bridget Riley, The Curve Paintings 1961-2014 installation at DLWP. © Bridget Riley 2015. All rights reserved, courtesy Karsten Schubert, London

Bridget Riley, The Curve Paintings 1961 – 2014 is at the De La Warr Pavilion, Bexhill on Sea, until 6th September 2015

Serial Thriller

Even an English flâneur may have imagined being on the Côte d’Azur in this heat, pausing on the Promenade des Anglais, to admire the view. On an outstandingly bright summer morning, if you looked south from the De La Warr Pavilion in Bexhill on Sea towards France, the sea and brilliantly dazzling sky dissolved the field of vision, eschewing aerial perspective. Space had flattened; somehow, confirming the shifting nature of perception as optically realised and, therefore (or thereafter), re-conceptualised, re-seen, rather than diminished without the culturally acquired safety net of perspective.

Bridget Riley might be categorised as a ‘classic’ abstract/geometric painter, whose practice engages with image making that, autobiographically, encapsulates her perfectionist tendencies. Her methodological practice is invariably characterised by tightly controlled, sensuously schematic, repetitive and minimalist, optically demanding imagery. She’s a serial, visual, thriller – of the highest order.

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