In the early 1980s, Bridget Riley produced a series of paintings distinguished by their use of the same group of colours, said to have been inspired by the vividly preserved painted tombs that she encountered during a visit to Egypt in the winter of 1979–80. Though clearly related to the black-and-white paintings that propelled Riley to international fame in the 1960s, these new works represented a notable change in the artist's methods, combining an intuitive arrangement of colour with a simple compositional motif: the stripe. While determinedly abstract, the imaginative origins of Riley's stripe paintings are registered in many of the titles that they carry: Ka (1980); Ra (1981); Luxor (1982); Winter Palace (1981). This essay reconsiders the making, display and reception of Riley's so-called ‘Egyptian palette’ within a longer history of encounter and exchange between Britain and Egypt, ranging across more than a century of military occupation and resistance, Cold War entrenchment, and neoliberal diplomacy. In doing so, it situates Riley's work between colonial and post-colonial ways of seeing.

中文翻译：

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开罗的莱利：1980 年代的英国艺术与埃及

在 1980 年代初期，布里奇特·莱利创作了一系列以使用同一组颜色而著称的画作，据说这些画作的灵感来自于她在 1979-80 年冬季访问埃及时遇到的保存完好的彩绘墓葬。尽管与 1960 年代将莱利推向国际声誉的黑白绘画明显相关，但这些新作品代表了艺术家方法的显着变化，将直观的色彩排列与简单的构图主题相结合：条纹。虽然绝对抽象，但莱利的条纹画的想象起源在它们的许多标题中都有体现：Ka（1980）；拉（1981）；卢克索（1982）；冬宫（1981 年）。本文重新考虑了莱利所谓的“埃及调色板”在英国和埃及之间相遇和交流的较长历史中的制作、展示和接受，跨越一个多世纪的军事占领和抵抗、冷战壕沟和新自由主义外交. 在这样做的过程中，它将莱利的作品置于殖民和后殖民的观看方式之间。