How are the traditions of Op Art being  developed by modern artists?  

The ‘Op Art’ era of the 1960’s saw pieces by the likes of Bridget Riley, Marina Apollonio and Victor Vasarely. The term was coined in 1964, where a rendezvous between science, art and illusion combined to challenge the optical characteristics of the human eye. With a striking combination of high-contrast patterns and colours, the three artists have a symbiotic relevance to the overall narrative, for they provide a bridge between the trend of optical art and social engagement.  

When the combination of framed and unframed works collide in the same space, taking over the walls and the floor of the space, the instability of the gallery’s and visitor’s physical status is highlighted due to the feeling of uncertainty experienced by walking over Apollonio’s work and viewing of Riley’s and Vasarely’s creations.   

Although wall hung pieces may not receive the direct, physical engagement that a floor piece can require, mounted artworks that have adopted an illusionist style enjoy their own ability to make the viewer think, and look twice. Body painter, Natalie Fletcher, is one such artist. As living canvases, the models in her works have been painted, and they blend seamlessly into the darkened space around them, which encourages the audience to feel uncertain about the physical stability of their own bodies.   

There appears to be an endless amount of interpretations of ‘Op Art’ and it is great to see how artists through the decades have adapted, invented and manifested similar concepts of unease and uncertainty through a varied collection of mediums. I hope that this exhibition will also achieve this but exploring a wide array of talents.