Woonnaall 1970 - 1975

Victor Vasarely made "Woonnaall" with paint and meticulousness, I imagine, maybe even some tape. There's this optical push and pull—a visual paradox—where the painting feels both flat and like an endless tunnel. The top half is all pinks and purples, like a sunset bleeding into twilight. Then the bottom half shifts into cool blues and greens, reminiscent of deep water. It's like Vasarely is asking, "How far can I push this idea of depth on a flat surface?" I picture him, maybe a little obsessive, carefully plotting each line, each color shift. It reminds me a bit of Bridget Riley's work, this dedication to pure visual sensation. You start to wonder if the painting is playing tricks on your eyes, or if your eyes are playing tricks on you. That’s the magic, though, right? These artists are all in conversation with each other, across time and space, pushing the boundaries of what painting can do. It’s not just about what you see, but what you feel—the vertigo, the pleasure, the sheer audacity of making something so deliberately unreal.