Bridget Riley

Accompanying an exhibition of new 'curvilinear’ works at Timothy Taylor Gallery, London (June–July 2006), these paintings incorporate complex layers of flowing forms that interlock and move with one another.

Using a patch of colour that is similar to a brushmark, Riley’s forms interrupt and threaten to break out from the picture plane, overhanging the frame to jostle and animate the visual field. Refining and developing this form in recent paintings, the artist's work offers an incredible melding of form and colour. 

Alongside over 20 full-colour illustrations, an in-depth essay by Paul Moorhouse examines the changes within Riley’s work throughout her multi-decade career.