From One to the Other (2005) by Bridget Riley fills a wide horizontal format with elongated lozenge forms in pale blue, peach, coral, sage green and lilac, the shapes curving gently as they interlock and the whole arrangement advancing diagonally across the plane with a looseness and fluency that distinguishes it from the more angular works in the Lozenge series. The pale blue is the most expansive presence — cool, receding, it opens the field wherever it appears, the warmer corals and peaches pressing forward through it in a continuous exchange that gives the image its particular airy quality.

The title points toward something Riley had always been interested in — the passage between states, the moment of transition at the expense of the fixed position. Her work had never been about arrival but about what happens in between, the eye moving through a colour arrangement and finding that the same tone behaves differently at the end of the journey than it did at the beginning. That interest connected her, in her own thinking, to the Impressionists and their preoccupation with light as something perpetually changing — Monet returning to the same haystack or cathedral facade across different hours and seasons, not to document it but to understand how perception itself was in flux. Riley's investigations were more systematic than Monet's, the arrangements built from rigorous preparation in favour of direct observation, but the underlying conviction — that what we see is always conditional, always in process — was the same.

From One to the Other is part of the Lozenge portfolio alongside Passing By and Red, the three prints together forming a sustained chromatic study within the same formal framework.

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