Although visually equated with optical illusions, many artists involved with the Op Art movement preferred the term “perceptual abstraction” as a more apt description of their intellectual approach. Artists such as Bridget Riley frequently used the real world as the starting point for their illusions. Struck by the effect of rainwater distorting the black and white patterned tiles of an Italian piazza, she became fascinated with the idea that a rigid structure could be disturbed and restored again. During the early 1960s, Riley worked solely in black and white to achieve shifting surfaces in her paintings and prints that challenge the viewer’s perceptions. Tapering and swelling forms in this image capture the dynamism she continually witnessed in nature.
English, born 1931
Untitled (Fragment 2) from Fragments
Silkscreen on Plexiglas (printed on reverse of sheet)
Image/sheet: 27 x 26 in. (68.5 x 66.0 cm)
Sidney and Lois Eskenazi Museum of Art, 72.102.2
Large image not available.