A two-part generative installation
Homage to Bridget Riley,
a two-part generative installation by LIA
“For me nature is not landscape, but the dynamism of visual forces, an event rather than an appearance.” Bridget Riley, The Eye’s Mind: Collected Writings 1965-2009
A reduced palette and a formal constraint that lead to exuberant and complex compositions. Works teeming with life and with the joy of life. Mathematically inspired patterns that explore perception and strive for beauty and the sublime. A body of work that is not primarily focused on political comment or on self-expression, but aims at creating tools for exploring how one sees, thinks, and feels, with artworks that are critical tools and instruments for discovery and enlightenment.
This would be an apt description of LIA’s works, but the same words would be equally fitting to Bridget Riley’s, to whom LIA pays homage in this installation.
Riley has long been an influence to LIA. Understandably so, given their common ground. Riley and LIA create mathematically inspired works that are nevertheless not constrained by mathematics, that do not aim at its visualisation but rather transcend mathematics and use it as an instrument to probe the human mind.
Directly referencing the formal style of some of Riley’s most iconic works, LIA creates a diptych of apparently similar, but ultimately quite contrasting, structures. The dialectical balance of white and black elements, straight and curved lines, rotating motion and vertical displacement, creates a mesmerising field of gently moving, vertiginous, pulsing, and harmonic energy that draws and fully engages our gaze.
// Text: Miguel Carvalhais
Intersezioni Digitali / Digital Intersections
curator: Ennio Bianco
La Chiesa Storica del Massari, San Martino di Lupari, Italy
2018/10/14 – 2018/10/28
Contemporary Istanbul – section PLUGIN: Extra/Ordinary
curators: Ceren and Irmak Arkman
2018/09/20 – 2018/09/23
curated by Brett Phares
Alys Beach, Florida, US
2017/05/17 – 2018/05/18