Meaning: Bridget Riley, a prominent British artist known for her Op art paintings, made the statement, "In my earlier paintings, I wanted the space between the picture plane and the spectator to be active." This quote encapsulates an essential aspect of Riley's artistic approach and her contribution to the Op art movement.

Riley's early works, particularly those from the 1960s, are characterized by optical illusions, geometric patterns, and vibrant colors that create a sense of movement and dynamism. The quote reflects her intention to engage the viewer in a visually stimulating experience that transcends the traditional boundaries of the picture plane.

Riley's interest in the relationship between the artwork and the viewer's perception can be traced back to her exploration of optical effects and the principles of visual perception. She was influenced by the works of Josef Albers and the Bauhaus movement, as well as the ideas of Gestalt psychology, which emphasizes the ways in which the human mind organizes visual elements into meaningful patterns.

The concept of the "space between the picture plane and the spectator" refers to the physical and perceptual distance between the artwork and the viewer. In Riley's earlier paintings, this space becomes an active and dynamic arena where optical effects and visual stimuli interact with the viewer's perception. The artist's use of precise geometric shapes, repetitive patterns, and contrasting colors creates a sense of movement and vibration that animates the space within and around the artwork.

Riley's approach to activating the space between the picture plane and the spectator aligns with the broader aims of the Op art movement, which sought to challenge traditional notions of representation and perception in art. Op art, short for "optical art," emerged in the 1960s as a response to the growing interest in visual experimentation and the exploration of the effects of color, form, and line on the viewer's visual experience.

By deliberately engaging the viewer's perception and inviting active participation in the viewing process, Riley's paintings transcend the static nature of traditional art forms and create an immersive and dynamic visual experience. The interaction between the artwork and the viewer becomes a central element of the aesthetic encounter, as the optical effects and rhythmic patterns draw the viewer into a mesmerizing dialogue with the painting.

Riley's statement also sheds light on her artistic evolution and the progression of her practice. While she initially focused on creating visually dynamic and immersive experiences in her early paintings, her later works further expanded on these ideas, exploring new techniques, color palettes, and spatial arrangements to continue her exploration of perception and visual phenomena.

In conclusion, Bridget Riley's quote encapsulates her artistic intent to make the space between the picture plane and the spectator an active and dynamic realm that engages the viewer in a visually stimulating experience. Her contributions to the Op art movement and her exploration of optical illusions and visual perception continue to inspire and captivate audiences, reinforcing the enduring relevance of her work in the context of contemporary art and visual culture.