". . . that which is constant or static is an inseparable part of that which changes or moves--in painting they have to be experienced simultaneously."--Bridget Riley
Attempting to elucidate ideas about movement in stationary objects, Bridget Riley began creating striking black-and-white paintings in the 1960s. In Suspension, she uses strategies of contradiction and ambiguity to create her analogy of the rhythms and paradoxes of human psychology. Through multiplication of line carefully calibrated in terms of scale, dimension, angle, and frequency, the artist attempts to suggest a parallel with the structure of human emotion--its "repetition, contrast, calculated reversal, and counterpoint."