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In the late 1990s, Riley began to make large-scale paintings in which curved blocks of colour are positioned using an underlying grid of verticals and diagonals, creating a sense of joyous movement. ‘When played through a series of arabesques the curve is wonderfully fluid, supple and strong’, she has said. ‘It can twist and bend, flow and sway, sometimes with the diagonal, sometimes against, so that the tempo is either accelerated or held back, delayed’. The title Evoë was a cry associated with the intoxicated rites of the Greek god Bacchus.

October 2016