Tuesday, 26 September 2017

Seurat to Riley: The Art of Perception, Compton Verney Art Gallery, Warwickshire (8 July-1 October 2017)

 Corona, (1970) Peter Sedgley

Unsurprisingly, given that her name is featured in the title, Bridget Riley features strongly in Compton Verney’s Summer exhibition.  I have to confess that Riley’s eye-popping canvases have never been at the top of my favourite artworks list.  I find them two highly coloured and the effect of movement too disorientating, so to say I was expecting an exhibition focusing entirely on ‘optical art’ to be quite a challenge, is an understatement. 

The curatorial premise behind the exhibition is how artists have exploited the ways in which the eye and mind perceive what is seen, with its key themes - pattern and perception – demonstrated by works in which colours other than those painted on the canvas are generated in the eye by the viewer, and those that communicate movement by static form.  With Seurat’s nineteenth century pointillist landscapes as its starting point, leading to Bridget Riley and her fellow Op Artists of the 1960s and right through to contemporary artists including Lothar Götz’s site-specific wall painting and Liz West’s light installation, this exhibition far exceeded my initial expectations.

Left:  The Morning Walk, (1885) Georges Seurat   Right:  Abstract Multicoloured Design, (c.1915) Helen Saunders

After pulling myself away from Seurat’s exquisite “The Morning Walk” (1885), a sketch which provided the starting point for his seminal work “The Seine at Courbevoie” painted the same year, I was delighted to see “Abstract Multicoloured Design” (c.1915) by lone female British Vorticist Helen Saunders.  After some examples of geometric and kinetic art (notably Josef Albers and Victor Vasarely) and before the first full explosion of eye-popping canvases from the 1960s, a wall of preparatory sketches and works in black in white by Bridget Riley, such as “Study for Painting ‘Pause’” (1964), really took me by surprise.  The delicate balance of line, tone and illusion of movement were for me, far more engaging that her colour works.  In fact, I found many of the black and white artworks in the exhibitions much more interesting than the multi-coloured ones.

Blaze IV, (1963), Bridget Riley

Ecclesia (1985), Bridget Riley

Most exciting about this exhibition was the fact that despite its title, it was far more than just a historical survey.  As Riley is still extant (and producing art), it opened up the potential of bringing in her later works as well as more contemporary artists, whose work has been influenced by the movement and who are interested in exploring ‘optical art’ further.  Standing out amongst these were Jim Lambie’s “Sun Visor” (2014), Lothar Götz’s geometric drawings (2015-2017) and most notably Liz West’s beautifully serene light installation “Our Spectral Vision” (2016).

Exhibition View

Installation view: Lothar Götz

Despite the art galleries being split up throughout the rooms of the eighteenth century mansion house and around its other decorative galleries, and resulting in a certain amount of disjointedness, Seurat to Riley: The Art of Perception surpassed all my expectations.  Although my tolerance for the illusionary nature of most Op Art remains the same, being introduced to the work of artists previously unknown to me, like Jesús Rafael Soto and Peter Sedgley and seeing Riley’s early work, made the trip up to Warwickshire more than worth it.

Our Spectral Vision, (2016) Liz West