Large Fragment (2006) by Bridget Riley sets a small number of broad, sweeping forms against a periwinkle ground — cyan and vermilion curving upward through the composition in opposing arcs, with deep navy pressing in from the left edge and a single passage of pale yellow catching the top corner before disappearing. The scale of each element is monumental relative to the picture area, and that largeness is part of what the work is doing: the eye cannot take in any single form completely, and attention moves within shapes as much as between them.

The title follows a naming logic Riley used across several works from this period, framing the composition as a section of a potentially larger field rather than a closed arrangement. What is shown feels contingent — the forms continue beyond every edge, the system that generates them coherent enough that the viewer completes it intuitively. That quality of extension without expansion is one of the most distinctive things about Riley's colour work from the 2000s, and Large Fragment achieves it with very few elements.

The 2006 screenprint was made as an independent work in its own right, not a translation of a painting — a distinction Riley has always maintained as important. Her prints are not reproductions but separate investigations, made for the medium and created under the same exacting conditions that govern everything she makes. All decisions are hers; the execution is carried out by specialist printers working to her precise specifications. The result is a work that belongs fully to the print tradition rather than existing as a secondary version of something else, and the flatness and precision of the screenprint process suits the colour relationships here exactly — each tone held cleanly against the others, the edges between them sharp enough that the depth they generate reads as a property of the colours themselves as opposed to the result of any drawn illusion.

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