Riley spent her childhood in Cornwall and received 1946-1948 art education at Cheltenham Ladies' College. Your teacher Colin Hayes, who later became a tutor at the Royal College of Art in London, made sure that it was exempt from regular classes, to devote himself entirely to the development of their artistic talent can. From 1949 to 1952 Riley attended Goldsmiths College in London and from 1952 to 1955 the Royal College of Art, where she auseineinandersetzte intensively with Georges Seurat's work and graduated with a Bachelor of Arts. After a serious car accident her father, which she used for several months, she worked as a glassware shop assistant, taught children and eventually joined the advertising agency J. Walter Thompson, where she mainly worked on the elaboration of the motives of photographs. In 1960 she undertook a journey to Italy, where they grappled with Renaissance works such as those of Piero della Francesca and with Futurism.
A teaching job brought them in the same year to the Hornsey College of Art, where her first op art images were created. In 1962, Riley her first solo exhibition at the Gallery One in London, 1965 - already sold out before the opening - in the Richard Feigen Gallery in New York. She took part in the exhibition The Responsive Eye at the Museum of Modern Art (1965). She received the 1968 International Prize for painting at the Venice Biennale. In 1967, she began to experiment with colors, initially only with gray, later also with other colors. Impulses for their color scheme brought in 1981 a trip to Egypt.
Her three studios are located in Cornwall, where she lived during the Second World War, as well as in Holland Park and Vaucluse Valley. In 1983, she designed the interiors of the Royal Liverpool Hospital. In the same year she designed the stage for Robert North's ballet Colour moves. With Peter Sedgley, she worked at SPACE Project, whose goal was the establishment of workshops for young artists.
She participated in the documenta 4 in Kassel in 1968, and at the Documenta 6 in 1977 as an artist.
Your pink landscape of 1960 is based on Seurat's pointillism, nor representational, it favors luminous points against sharp shapes. In Hidden Squares from 1961 go in the eye of the beholder actually separate surfaces with circles in areas with squares over.
Your case and Current (1964 ) said images show black, curved lines, which simulate a wave motion. The later works Cataract (1967 ), the Streak series ( approximately Streak 2, 1979), and Rill (1976 ) enhance the effect by means of colors.
Optical illusions continued during works such as Blaze 1 (1962 ), in which a concentric zigzag pattern creates the impression of a vibrant and rotating spiral. Shiver of 1964 produced by rows of many small, variously angled triangles a perception of the lack of curvature. Pictures of kind of Static 1 (1966 ) based on the effect that the perception of the people loose points to magnetic field lines connecting similar structures.
Pictures of Paen (1973 ) show strings of vertical stripes of different colors, of which stripe groups are focused in a constant change in viewing and fade into the background again. Add zing 1 (1971 ) to red, blue and green stripes alternate, sections diagonally, as reflected light within vertical bars, so that horizontal segments appear to emerge.
Your mostly large -scale works are created in a several month long creative process. They initially made to small-scale studies in order to insure their effect. The colors that make up an important role in the effectiveness of their later works, it mixes itself an already large format prototype is created with gouache. The final image finally produced on a canvas, they lined, primed with acrylic paint, and finally by hand - sometimes with the help of assistants - painted with oil paint. This high precision is required, as even small geometric or color inaccuracies may impair the visual effect.