![]() To prepare this panel the circles were drawn first using a compass a template was used for the fuller ellipses, and the slimmer ones were drawn freehand. The paintings were then made using emulsion applied to a hardboard panel that had been cut and assembled commercially. In preparation for creating each painting in the grey series the artist made a full-size cartoon in gouache on paper, although in some cases these were not completed. ![]() This is a movement, as it were, from an unqualifiable position to one that says ‘possibly’. It is achieved through an embracing of tonal values which introduce an element of visual qualification. In this respect, Riley’s infiltration of grey is a significant broadening of her visual argument, a development from the sense of absolutes advanced by earlier black and white contrasts. Curator Paul Moorhouse observed that this imbued Riley’s works with increased subtlety:īy adopting a graduated palette of coloured greys Riley had also, in effect, denied black and white. In 1964 Riley introduced variations in tone into her work, composing a series of paintings, including Hesitate, from a full palette of grey. This period of the artist’s op art practice is represented in Tate’s collection by Fall 1963 (Tate T00616). Her first works were painted in a black and white palette and were concerned with variations in shape rather than tone. Riley began to paint pure geometric abstract canvases in 1961. This combination of shifting tone and changing shapes gives the viewer the impression of motion in the painting, as if two horizontal abutting cylinders are receding into the painting, or as if a wave is oscillating across its surface. ![]() The grey darkens with each row along a diagonal axis to become almost black, before fading back to pale silver and then darkening once again in the bottom right hand corner of the painting. The shapes are painted in grey tones, beginning in a pale silvery shade in the top left corner of the work. The slimmest ovals, situated a third of the way down the work, form a compressed band three rows deep. The top row is composed of circles, giving way to subsequent rows of increasingly flat ovals, before expanding back into rows of circles in the lower half of the painting. Hesitate is a painting on a rectangular board the features even rows of circular and elliptical shapes. ![]()
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