They are thus an interesting case study of the mathematical analysis of art. Regular stripes are an extremely constrained form of art, free of the contextual and cultural baggage that permeate other artworks.
It also provides a strong interaction between adjacent colours, that is, it provides the entire vertical edge between two stripes as an interface between their two colour fields. Regular stripes provide a compositional framework that has no context, that is, there is no analogue to anything in the natural world.
I find that all can provide some characterization, that entropy provides the best judge between Riley's work and randomly generated variants, and that the entropy measures correlate well with the art-critical descriptions of Riley's development of this style over the five years in which she worked with it. I investigate entropy (both global and local), separation distance and auto-correlation. This is motivated by three considerations: (1) stripe paintings are an incredibly constrained art form, therefore it should be relatively straightforward to ascertain whether or not there is a mathematical characterization (2) Bridget Riley's approach to composition is methodical and thoughtful, so we can assume that her paintings are carefully constructed rather than random and (3) Riley's paintings can appear random on a first glance but have an underlying structure, therefore Riley's works are challenging to characterize because they are close to random while not actually being so. I investigate whether mathematical measures can characterize Bridget Riley's stripe paintings.
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