Twisted Curve in Simple Reverse, 1979
Alan Wheatley Art
92.8 x 64.8 cm
Signed, inscribed and dated
Provenance
Hazlitt Holland-Hibbert, London.
Distinguished European collection.
Private collection, London.
ADDITIONAL NOTES
'In the 1970s I was led to bands of colour stripes in which all the colours, in turn, cross over or twist around the others. I found that the tapering, or as you say 'attenuated', ends of such twisted bands were most sensitive to colour inflections of all sorts and began to use them in curve structures which were intensified the effect of the disembodid colours. the rise and fall of these curves had to be precisely calculated for each group of paintings, and so I had to make templates as i needed them... I organised this fluctuating activitu by bunching it up in clusters which emphasise one shift or another'.
Bridget Riley 'In conversation with Isabel Carlisle', exhibition catalogue, Bridget RIley: Works 1961-1998, Kendal, Abbott Hall Art Gallery, 1998, p.10.
Past
Twisted Curve in Simple Reverse, 1979
92.8 x 64.8 cm
Signed, inscribed and dated
Provenance
Hazlitt Holland-Hibbert, London.
Distinguished European collection.
Private collection, London.
ADDITIONAL NOTES
'In the 1970s I was led to bands of colour stripes in which all the colours, in turn, cross over or twist around the others. I found that the tapering, or as you say 'attenuated', ends of such twisted bands were most sensitive to colour inflections of all sorts and began to use them in curve structures which were intensified the effect of the disembodid colours. the rise and fall of these curves had to be precisely calculated for each group of paintings, and so I had to make templates as i needed them... I organised this fluctuating activitu by bunching it up in clusters which emphasise one shift or another'.
Bridget Riley 'In conversation with Isabel Carlisle', exhibition catalogue, Bridget RIley: Works 1961-1998, Kendal, Abbott Hall Art Gallery, 1998, p.10.