OP ART

Bridget Riley, Nataraja, 1993,
Oil paint on canvas
1651 × 2277 mm

Nataraja is a term from Hindu mythology, which means Lord of the Dance. It refers to the Hindu god Siva (Shiva) in his form as the cosmic dancer. Riley’s use of the term refers to the emphasis on rhythm and counter-rhythm, which are central elements in the painting.

Bridget Riley, Fall
1963, Polyvinyl acetate paint on hardboard
1410 × 1403 mm

Bridget Riley’s paintings look almost mechanical / digital graphics, with this geometric abstract nature, that she influences for many designers, including the well-known graphic designer Lance Wyman, and artists associated with the YBA movement, including Damien Hirst and Rachel Whiteread. 

The progression of shapes intensifies, climaxes, and then de-escalates, provoking the viewer to confront their perceptual senses as well as their ideas of “stabilities and instabilities, certainties and uncertainties.”

Steeped in the paintings of the Impressionist, Post-Impressionists, and the Futurists, Riley dissects the visual experience of the earlier modern masters without their reliance on figures, landscapes, or objects. Playing with figure/ground relations and the interactions of color, Riley presents the viewer with a multitude of dynamic, visual sensations.

“For me nature is not landscape, but the dynamism of visual forces.”

BRIDGET RILEY

reflection

+ interesting immediate visual effect that physically influences reader, which maybe can cause dizziness and nausea, and psychological responses like a hallucination or hypnosis… which i can apply to my project as a manifesto of a psychological state…

https://www.theartstory.org/artist/riley-bridget/life-and-legacy/#nav

https://www.tate.org.uk/art/artists/bridget-riley-1845

Leap into the Void

Yves Klein“Saut dans le Vide” /  “Leap into the Void “, 1960
Lee Gallery

Yves Klein tricked the world with this iconic photograph. In October 1960, Klein hired the photographers Harry Shunk and Jean Kender to make a series of pictures re-creating a jump from a second-floor window that the artist claimed to have executed earlier in the year. To complete the illusion that he was capable of flight, Klein distributed a fake broadsheet at Parisian newsstands commemorating the event.

 “Today the painter of space must, in fact, go into space to paint, but he must go there without trickery or deception,” he wrote. “He must be capable of levitation.”

reflection

+ this work arised from the parody / irony and some kind of trickery toward the public. This can be seen to highlight the artist’s fascination with mysticism and the symbolic. Klein claimed that from childhood, he possessed a supernatural power of levitation, which is evidently what he was trying to enact with this piece of work. 

+ Leap into the Void is contradictory to a demonstration of freedom and constraint. It seems a blunt act of disobedience against convention and the body as well as the laws of nature. 

+ We share the same interest in emptiness, void, and the infinite characteristic of space…

https://www.metmuseum.org/art/collection/search/266750

https://publicdelivery.org/yves-klein-leap-into-the-void/#The_meaning

Rings – circles – machines

GREG CREEK. Amendments. Water-colour on paper, balsa tray, each 180 x 140 x 3cm. Sarah Scout Presents, Melbourne. 2017

DAMIEN HIRST,
Beautiful Vibrations and Soundwaves Painting
2008

Creek states that his works are both optical beauty and a strong material presence — part objects, part process and part exercise in repetition.

Hirst explores the idea of an imaginary mechanical painter. The results of the spins are controlled purely by the artist’s colour choices and the motion of the machine. Hirst explains the simplicity of their appeal: “I really like making them. And I really like the machine, and I really like the movement. Every time they’re finished, I’m desperate to do another one.”

These two artists in these two works both tackle the idea of process art, using movement to gravitate paint to the surface — the made up of numerous concentric coloured rings, drips and variations. As the rings / spins gradually accrue and colour harmonies develop, time and change accumulate.

Creek is suggesting a political reference to the subtle alteration or decay of an ideal. Whereas, Hirst is purely enjoying the process of machine-made, described by the artist as “childish … in the positive sense of the word”.

The circle is a universal symbol with extensive meaning. It represents the notions of totality, wholeness, original perfection, the Self, the infinite, eternity, timelessness, all cyclic movement..

The term process art refers to where the process of its making art is not hidden but remains a prominent aspect of the completed work, so that a part or even the whole of its subject is the making of the work. (tate.org.uk)

reflection:

+ what methods and techniques that i can use to repeat a process that explore the variation and the fun of colours and unexpectedness?

+ how can i use the primary shape — circle, as a motif to articulate my subject?

http://www.damienhirst.com/beautiful-vibrations-and-sound

https://www.gregcreek.net/#/amendments/