Galerie Max Hetzler Berlin | Paris | London / Holzwarth Publications, Berlin 2020 With an essay by Éric de Chassey and biographical notes by Robert Kudielka
‘In the Intervals, as in the Measure for Measure paintings, the conflicts and contradictions are subtle – or non-assertive – but they clearly are fundamental to the kind of harmony that Riley strives for and achieves in each picture. She has made it more and more monumental, expanding the sizes of her canvases without altering the scale of the units [...], addressing the body of the viewer with a pictorial body which remains graspable in a single glance but embraces more space as its size grows.’ Éric de Chassey, ‘Intervallic Structures’, in: Bridget Riley: Paintings 1984–2020, Galerie Max Hetzler Berlin | Paris | London / Holzwarth Publication 2020, p. 30
Publisher: Galerie Max Hetzler Berlin | Paris | London / Holzwarth Publication Publication date: 2020 Binding: Hardcover Dimensions: 24.6 x 30.6 x 1.3 cm Pages: 78 ISBN: 978-3-947127-25-2
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Since the beginning of her career, Bridget Riley (b. 1931) has constantly redefined the concept of abstraction and its possibilities for the painterly process. Aware of how individual and collective experiences taint one’s vision of the world, the artist creates works that free colour and form from their illustrative potential, enabling what she refers to as ‘pure sight’. Riley develops paintings through the accumulation and distribution of simple forms – vertical and horizontal stripes, squares, circles and ovals, triangles, rhomboids, and curves – coming together into complex arrangements fostering a sense of dynamism, and rhythm. Her paintings seem to flicker and pulsate. Riley’s profound observations of movement, light and colour have given rise to a complex and continuously evolving oeuvre that underlies a long-standing fascination for the physical process of perception. ‘[...] The surprise of the first encounter with one of her paintings is owing to an astonishment that an inanimate object has apparently come to life and – more than that – is in communion with the viewer. The viewer’s surprise is, we recognise, is a self-created surprise. Perception is the medium just as much as is the canvas and the paint – more so, in that a painting, the artist acknowledges, “only comes to life when looked at from a certain distance”. In a way, it doesn’t exist factually at all; only in the viewer’s perception.’ J. Elderfield, ‘Creating a Way of Looking’, in Bridget Riley: Die Streifenbilder: The Stripe Painting 1961–2012, exh. cat., Galerie Max Hetzler, Berlin; Berlin/London: Holzwarth Publications and Ridinghouse, 2013
Artist page on maxhetzler.com
Bleibtreustraße 15/16, Berlin
2020
Exhibition page on maxhetzler.com
Goethestraße 2/3, Berlin
Bleibtreustraße 45, Berlin