书名：Bridget Riley: Recent Paintings 2014–2017
作者：Richard Shiff

出版：David Zwirner Books，2018

装帧：精装，96页

语种：英文
开本：24.1 × 30.5 cm

通过观察来进行探索是布里奇特·赖利工作的动力，正如她所写的：“最重要的是，我希望我的画以它们自己的方式存在。也就是说，它们必须秘密地与你交战并解除你的武装。这些画挂在那里，看似简单，实际上并没有讲述故事，而是以一种良好的方式抵制所有被质疑、被探究或被凝视的企图。对于那些睁着眼睛的人来说，它们平静地透露出一些壮观的暗示，只有纯粹的视觉才能获得解开的钥匙。”

这份出版物沿着赖利在卓纳画廊伦敦空间举办的2018年展览的路线展开。从探索黑白等边三角形开始，赖利带领观众了解一面墙壁或一块画布如何影响三角形这样一个看似简单的形状。当赖利在展示这些微妙的变化时，以扭曲形状的边来操纵图形。乍一看，观众可能会觉得这是一种分裂，但随着人们继续观察，蛇形运动或带大阴影的三角形出现了，呈现前进和后退的效果。这些画作通过观众的观察不断进行自我重塑。

赖利正在重温和发展她50多年前开始的作品，正如展览中呈现的黑白光盘(Black to White Discs，1962/1965)。这种钻石形状的圆点集合，色调从白到黑，再由黑到白，为她的新作品提供引导。

在《宇宙》(Cosmos) 和《一报还一报》(Measure for Measure) 系列中，赖利在圆点中使用了一组微妙的阴影色。虽然构成基本上保持不变，但色彩每次的运用都在变化。展览以一幅令人称奇的大尺幅壁画结束，为观者提供了许多乐趣，尤其是转瞬即逝的跃动的白光。在这里，赖利解除了观众的武装，再次鼓励他们展开探索的冒险。理查德·希夫在他的文章中探索了赖利赋予基本形式新生命的能力，因为她邀请任何一位观众参与进绘画。

The quest for discovery through looking is the driving force of Bridget Riley’s work, as she has written: “More than anything else I want my paintings to exist on their own terms. That is to say they must stealthily engage and disarm you. There the paintings hang, deceptively simple—telling no tales as it were—resisting, in a well-behaved way, all attempts to be questioned, probed or stared at and then, for those with open eyes, serenely disclosing some intimations of the splendors to which pure sight alone has the key.”

This publication unfolds along the lines of Riley’s 2018 exhibition at David Zwirner, London. Beginning with an exploration of black-and-white equilateral triangles, Riley leads the viewer into an awareness of the ways in which a surface—wall or canvas—can affect a seemingly simple form: the triangle. While she demonstrates these subtle changes, Riley manipulates this form by bending its sides. At first sight the viewer may experience this as a breaking apart, but as one continues to look, serpentine movements appear, or large shadowy triangles, which advance and recede. These paintings constantly reinvent themselves through looking.

Riley is revisiting and developing works which she initiated over fifty years ago, as is shown here by the inclusion of Black to White Discs (1962/1965) in the exhibition. This diamond formation of discs, which graduates in tone from white to black and back again, offers a lead-in to her new body of work. In Cosmos and the Measure for Measure series, Riley recalls a group of subtly shaded colors used this time in discs. While the compositions remain fundamentally the same, the play of colors changes every time.

The exhibition ends with a surprisingly spacious wall painting that offers the viewer many delights, not least among them a dance of fugitive white lights. Here, Riley disarms the viewer, encouraging us once again in an adventure of discovery. In his essay, Richard Shiff explores Riley’s ability to give new life to basic forms as she invites the audience, any audience, to help participate in the painting.