“In the mid-1970s, I started to use the curve again, this time as a rhythmic vehicle for color. This was different from the earlier paintings like Cataract. By using twisted curves, I could bunch up color sensations in a way that went further than the lateral groupings in Pæan. When colors are twisted along the rise and fall of a curve, their juxtapositions change continually. There are innumerable sequences, each of which throws up a different sensation.” — Bridget Riley

From Bridget Riley, The Eye’s Mind: Collected Writings 1965–2009, edited by Robert Kudielka (London: Ridinghouse, 2009).

See Riley in the London Review of Books:  lrb.co.uk/bridget-riley/at-the-end-of-my-pencil

Top: Bridget Riley in 1963. Image credit: Getty Images. Bottom: Bridget Riley, Aurulum, 1978.