a bright day with spells south—west, a bright day with spells of sunshine. cooler, though, between 18 and 21 degrees. through the week, low pressure making its way in. showers for the north west, whereas further south and east should stay drier, and in the sunshine it will feel warm. hello this is bbc news. the headlines: the uk chancellor, rishi sunak says g7 finance ministers from the world's leading economies have reached a historic deal to reform the global tax system during talks in london. i think the crucial thing for people to take away is the principle of fairness. that is what we have achieved today. to ensure there is a level playing field for all types of companies. testing is ramped up as the uk sees the highest number of new covid infections in 2 months, raising more question marks over the further relaxation of restrictions. for the first time in nine months,

people in glasgow will be able to socialise in each others homes and drink alcohol in pubs & restaurants as parts of scotland move to lower restriction levels from today. now on bbc news: celebrated artist bridget riley shot to fame in the 1960s with a series of black and white geometric artworks and has just opened a new show in london at the age of 90. in an exclusive interview with bbc newsnight, she talks to kirsty wark about her childhood in cornwall and the impact of war on her art, on learning from her own mistakes, and on the importance of studio space for young artists. and on the importance of studio the work of british artist bridget riley has spanned 70 years, perhaps longer than any other contemporary artist in these islands and she is

certainly one of the country's for most painters. 0ur certainly one of the country's for most painters. our work ethic is astonishing. she hasjust opened her latest exhibition, passed into prison. her paintings are sensuous and to hold is exciting. she may be 90 but she is still an artist in her prime. bridget riley, how did you decide upon the title for the exhibition, past and present? decide upon the title for the exhibition, pastand present? 1 decide upon the title for the exhibition, past and present? 1 had exhibition, past and present? i had a big retrospective _ exhibition, past and present? i had a big retrospective just _ exhibition, past and present? i itfl a big retrospective just before a big retrospectivejust before covid and it gave me an opportunity to look at my own work from way back, to look at my own past and haveit back, to look at my own past and have it appear to me in the present, now, was very interesting. and i

found that the visitors, the people who came to the show actually went doing exactly the same thing so it wasn't only that my own eyesight had developed but those who had been following my work, their perception of my work had also changed. so it isn't the past, it is my past. it is also that my work has certainly drawn on the work of painters in the past. d0 drawn on the work of painters in the ast. , ., drawn on the work of painters in the ast. ,, , drawn on the work of painters in the ast. , , ., past. do you see things that you did not see before _ past. do you see things that you did not see before that _ past. do you see things that you did not see before that you _ past. do you see things that you did not see before that you look - past. do you see things that you did not see before that you look back i past. do you see things that you did| not see before that you look back on your paintings from a0 or 50 years? do you look differently? yes. your paintings from 40 or 50 years? do you look differently?— do you look differently? yes. not alwa s. do you look differently? yes. not always. sometimes _ do you look differently? yes. not always. sometimes old _ do you look differently? yes. not always. sometimes old friends. l

always. sometimes old friends. sometimes i see things i did not intend, didn't hope for, were not apparent to me. fire intend, didn't hope for, were not apparent to me-_ intend, didn't hope for, were not apparent to me— intend, didn't hope for, were not apparent to me. are you ever in a ralle apparent to me. are you ever in a gallery when — apparent to me. are you ever in a gallery when viewers _ apparent to me. are you ever in a gallery when viewers are - apparent to me. are you ever in a i gallery when viewers are discussing paintings. and you're talking about young people, you like having that young people, you like having that young people, you like having that young people have to say about your work. , .., . young people have to say about your work. , . ., , , young people have to say about your work. , , , ., ., work. they can see it is about howl think, widespread. _ work. they can see it is about howl think, widespread. that. _ work. they can see it is about howl think, widespread. that. and - work. they can see it is about howl think, widespread. that. and they i think, widespread. that. and they like that they have included in it and i'm very thrilled that they feel included. �* . . . and i'm very thrilled that they feel included. �* , ., , ., included. because it only works, in a wa , if included. because it only works, in a way. if you _ included. because it only works, in a way, if you include _ included. because it only works, in a way, if you include the _ included. because it only works, in a way, if you include the viewer. i a way, if you include the viewer. the little studies i make, they are very intimate because i am finding out what i can see, and my little separate collage, dots or circles or

discs are agents for looking. so when i have had a dialogue and feel that i can't push it any further, that's what they pick up on. a movement in squares. it was one small change slowly, slowly, building on, building on, building on, building on until it accelerated into a rapid movement in the square. it, so to speak, shuttled almost through extension. and then it would have closed the painting. there

would not have been anything there. i could do nothing but come back and the next painting that was black to white discs i wanted to slow the whole thing down. and i realised that if you make it larger you slow it down even more. it all takes time and if they're willing to give time, which i was so absolutely thrilled to see they were, then, through looking, you can learn to see. 50 looking, you can learn to see. so ou looking, you can learn to see. so you could actually see, if you were watching somebody looking at your painting you could see this almost in front of your eyes. i painting you could see this almost in front of your eyes.— in front of your eyes. i remember seeinr a in front of your eyes. i remember seeing a child _ in front of your eyes. i remember seeing a child going _ in front of your eyes. i remember seeing a child going across - in front of your eyes. i remember seeing a child going across to - in front of your eyes. i remember| seeing a child going across to one of my brightly coloured paintings

and heading for it like a beeline. very interesting thing happened to me. i was told about a little boy of six who looked at a painting that his father had bought, of mine, and he said, i know what it is. and i was so thrilled to hear that. when ou move was so thrilled to hear that. when you move from — was so thrilled to hear that. when you move from black— was so thrilled to hear that. when you move from black and - was so thrilled to hear that. when you move from black and white i was so thrilled to hear that. when you move from black and white that was momentous for you.— you move from black and white that was momentous for you. well, i was headin: was momentous for you. well, i was heading towards _ was momentous for you. well, i was heading towards it _ was momentous for you. well, i was heading towards it because - was momentous for you. well, i was heading towards it because i - was momentous for you. well, i was heading towards it because i had - heading towards it because i had reached a certain understanding of colour and a certain ability to deal with it through my copy of

pointillism and i came to understand something very important about colour through that. the induction of colour, that is, can induce something it is not so it is an immense, unstable, essentially unstable, but because of that huge exciting field to work with. ibiack exciting field to work with. black and white as _ exciting field to work with. black and white as a _ exciting field to work with. black and white as a colour, _ exciting field to work with. black and white as a colour, really, . exciting field to work with. black and white as a colour, really, isn't it? �* , and white as a colour, really, isn't it? ~ , ., ., and white as a colour, really, isn't it? , ., ., ., , it? and they generate other colours, the reall it? and they generate other colours, they really d0- _ it? and they generate other colours, they really do. so _ it? and they generate other colours, they really do. so it _ it? and they generate other colours, they really do. so it is _ it? and they generate other colours, they really do. so it is about - they really do. so it is about re ose, they really do. so it is about repose, disturbance - they really do. so it is about repose, disturbance and - they really do. so it is about - repose, disturbance and repose. why is that... why is that a good mantra? is that. .. why is that a good mantra?— is that... why is that a good mantra? , ., ,., mantra? so i start with something. i think about — mantra? so i start with something. i think about what _ mantra? so i start with something. i think about what it _ mantra? so i start with something. i think about what it is. _ mantra? so i start with something. i think about what it is. what - think about what it is. what constitutes it. and then i wonder

if, it is very speculative, if i make a small change, a very small this change possible, without disturbing its character butjust tipping it a little bit. and a little bit more. and a little bit more. and i don't know where it will go but it will precipitate some the

landscape. catching glimpses of the sea and pebbled beach. which

actually, in fact, sea and pebbled beach. which actually, infact, is sea and pebbled beach. which actually, in fact, is where i swam... actually, in fact, is where i swam---— actually, in fact, is where i swam... ~ ., , ., ., swam... what is that, do you remember? _ swam... what is that, do you remember? well, _ swam. .. what is that, do you remember? well, it- swam... what is that, do you remember? well, it was - swam... what is that, do you remember? well, it was a i swam... what is that, do you - remember? well, it was a description of, remember? well, it was a description of. actually. — remember? well, it was a description of, actually, swimming _ remember? well, it was a description of, actually, swimming in _ remember? well, it was a description of, actually, swimming in a _ remember? well, it was a description of, actually, swimming in a pool, - of, actually, swimming in a pool, which i can remember very well. and this little pool was quite shallow at one end and there you could see down to the colours of the seaweed and anemones and other little things in it. at the same time there was a reflection from the cliff above which was glowing with green grass and yellowy flowers. and reflections from the sky and these mixtures of

all colours you could perceive layering one upon another in this way, they also generated, which was extraordinary, and after—image. a collective after—image of red which dotted round in your eyesight, looking at it, and it was colour being faceted, so to speak. and so that was it. do you think that our and so that was it. do you think that your mother _ and so that was it. do you think that your mother and _ and so that was it. do you think that your mother and your - and so that was it. do you think that your mother and your aunt | that your mother and your aunt actually saw something in you that was perceptive to that, to light and colour. do you think you are being encouraged without you knowing it?

well, my mother had a great i, and she collected china. she did not mind if it was broken, cracked, if it was a wonderful colour and had just that something which made it remarkable in some small way. all in a large way. but remarkable in some small way. all in a large way-— a large way. but do you think it was then that you _ a large way. but do you think it was then that you may _ a large way. but do you think it was then that you may be _ a large way. but do you think it was then that you may be foundations i a large way. but do you think it was| then that you may be foundations of an artistic personality? do you think that is where it came from? yes, i do. think that is where it came from? yes, ido. nearly think that is where it came from? yes, i do. nearly five years, for years. it was the same walks, i mean, seasons changing and my father went to the wall and was reported missing and we lost him for many

years and then we did hear that he was alive and then he came back. so the war was very personal. at very close quarters indeed, in some ways. but also, you know, happening miles and miles away. i5 but also, you know, happening miles and miles away. is a but also, you know, happening miles and miles away-— and miles away. is a war child when ou and miles away. is a war child when you were. — and miles away. is a war child when you were. in _ and miles away. is a war child when you were. in a _ and miles away. is a war child when you were, in a way, _ and miles away. is a war child when you were, in a way, conditioned - and miles away. is a war child when you were, in a way, conditioned to l you were, in a way, conditioned to unpredictability and uncertainty it was a way that, in your art, you created a kind of rhythm and certainty in your art and an element of control. . ., ~' certainty in your art and an element of control. , ., ~ ,., of control. yes, i do think so. i think that _ of control. yes, i do think so. i think that when _ of control. yes, i do think so. i think that when the _ of control. yes, i do think so. i think that when the war - of control. yes, i do think so. i think that when the war was i of control. yes, i do think so. i l think that when the war was over of control. yes, i do think so. i - think that when the war was over and

the immediate dangers had died down, i then felt it was time to do something about it, as it were. i thought i could do something about it. ~ , ., ., ~ it. the museum of modern art in new york city- -- — it. the museum of modern art in new york city... here _ it. the museum of modern art in new york city... here is _ it. the museum of modern art in new york city... here is current _ it. the museum of modern art in new york city... here is current by - it. the museum of modern art in new york city... here is current by the - york city... here is current by the british_ york city... here is current by the british artist — york city... here is current by the british artist bridget riley. it is black—and—white, no colour. the british artist bridget riley. it is black-and-white, no colour. the one eriod black-and-white, no colour. the one period people _ black-and-white, no colour. the one period people talk — black-and-white, no colour. the one period people talk about _ black-and-white, no colour. the one period people talk about you - black-and-white, no colour. the one period people talk about you having, | period people talk about you having, what is the right expression, ambivalence towards us the whole pop art time. you were associated with it almost against your will? optical

aintin: it almost against your will? optical painting was _ it almost against your will? optical painting was foreseen, _ it almost against your will? optical painting was foreseen, the - it almost against your will? optical painting was foreseen, the need i it almost against your will? opticall painting was foreseen, the need for it was foreseen or some revision, i think says and said we need new optics when he found that actually what we actually experience did not measure up to the organisation of pictorial space. to picture making as it was, as it had been.- pictorial space. to picture making as it was, as it had been. when your art was displayed — as it was, as it had been. when your art was displayed alongside - as it was, as it had been. when your art was displayed alongside 60s - art was displayed alongside 60s fashion and so forth that you did not see that as being something you particularly enjoyed. i not see that as being something you particularly enjoyed.— particularly en'oyed. i think the museum lost — particularly enjoyed. i think the museum lost control _ particularly enjoyed. i think the museum lost control of - particularly enjoyed. i think the museum lost control of it. -

particularly enjoyed. i think the i museum lost control of it. people were very excited about it because they did sense quite rightly that there was a big field here, a huge opportunity for really a new look at things or a new way of approaching them and itjust felt things or a new way of approaching them and it just felt that things or a new way of approaching them and itjust felt that it things or a new way of approaching them and it just felt that it was too much. d0 them and it “ust felt that it was too much.— them and it “ust felt that it was too much. ~ ., ,, , too much. do you think abstract is the riaht too much. do you think abstract is the right word _ too much. do you think abstract is the right word for _ too much. do you think abstract is the right word for you _ too much. do you think abstract is the right word for you as - too much. do you think abstract is the right word for you as an - too much. do you think abstract is| the right word for you as an artist? no, i don't know that it is. i think it is the one we use so i go along with it perhaps, a painter. first and foremost. and that is what i do. and i explore. and i try to understand and try to find out what i can look at. what we can see. i

wonder, in your long career, artistic dilemmas. you've only used 3d ones. now, tell me about that. tell me about why you only used it once. was it a success? was not a success? . .., once. was it a success? was not a success? ., .., ., ,., success? that came about when the national gallery _ success? that came about when the national gallery bought _ success? that came about when the national gallery bought a _ success? that came about when the national gallery bought a big - success? that came about when the national gallery bought a big waterl national gallery bought a big water lily painting and you are enveloped in it. you see the clouds in the sky reflected down amongst the water lilies. it is a whole world and you are enveloped in it visually. and i thought i would make a big painting

which i enveloped you physically. a great mistake. that was too literal. absolutely too literal. so i went back to flat painting and engaging you with painting's proper conditioning. ii you with painting's proper conditioning.— you with painting's proper conditioning. you with painting's proper conditionina. ., ., ., conditioning. if you have not done that then you _ conditioning. if you have not done that then you would _ conditioning. if you have not done that then you would not _ conditioning. if you have not done that then you would not know - conditioning. if you have not donej that then you would not know that conditioning. if you have not done i that then you would not know that is where you wanted to be so is there ever such a thing as a mistake or is itjust...? no, you are quite right. in ways, it is not. as matisse said, don't get rid of your mistakes. you know, they are the things that will help you to move and think and understand. there is a great variety

for bridget riley. the exhibition you are doing now and you also have much more live exhibitions where, for example, in ayrshire, an area where people come and talk to you. how much do they like having this idea of having bridget riley for a little while? this idea of having bridget riley for a little while?— little while? this exhibition and air happened — little while? this exhibition and air happened a _ little while? this exhibition and air happened a long _ little while? this exhibition and air happened a long time - little while? this exhibition and air happened a long time ago i little while? this exhibition and l air happened a long time ago and that must have been at the beginning of the 80s. it was quite a long time ago and i was not at that moment, people were not liking my work very much. it was doldrums and that must happen and does happen in a plane's life, you know. and so i was very glad of the chance to go somewhere else and i went and gave a talk and

there were 15 people in the audience. we had a ball. we had a great great time.— audience. we had a ball. we had a great great time. looking at where art education _ great great time. looking at where art education is, _ great great time. looking at where art education is, is _ great great time. looking at where art education is, is there _ great great time. looking at where art education is, is there a - great great time. looking at where art education is, is there a way - art education is, is there a way coming out of the pandemic that artists will find places they will work and to never have before. department stores and office blocks, is there a way artist should inhabit them for their and for our good? i have been down that path before with space studios. we actually managed to get saint catherine stock, which was... had been empty since before the war and studio space is a vital

thing for painters. you can draw, to some extent, anywhere but you need a studio, really, increasingly if you want to develop painting and let your work grow. you need space. so it can be done but the private investor who may have come from abroad with his and empty office space would need to be persuaded, somehow, that what happened was the docks was they were vacant. but i do

think that there could be governmental support and also private enterprise to take a hand. there are issues about how much is being cut from arts education and higher education colleges for the people doing lots of good work but resources are being squeezed. is there a danger that you squeeze out there a danger that you squeeze out the artistic sentiment people? i don't think, the creative, not the desire to do something about what you see, what you feel and the arts are, they can be anything from a safety valve to, you know, a very

highly developed expression of complex responses. it is not a question, really, of money. it is a question, really, of money. it is a question of wanting to do something and wanting to make an effort. of wanting to, ofjust realising how amazingly fortunate we are. luntimely wanting to, ofjust realising how amazingly fortunate we are. when you are aintin: amazingly fortunate we are. when you are painting or — amazingly fortunate we are. when you are painting or when _ amazingly fortunate we are. when you are painting or when you _ amazingly fortunate we are. when you are painting or when you are _ amazingly fortunate we are. when you are painting or when you are what - are painting or when you are what music do you like to listen to? i don't like any music when i am working because it's divide my attention. i can't do that. but i play music later. a piece of music that i'm enjoying very much at the moment is this one by schubert which uses last so nata and he died when

he was 33, quite a young man. —— sonata. but it is a lovely piece. why do you like it so much? i think ou “ust why do you like it so much? i think you just have _ why do you like it so much? i think you just have to — why do you like it so much? i think you just have to listen _ why do you like it so much? i think you just have to listen to _ why do you like it so much? i think you just have to listen to it. - why do you like it so much? i think you just have to listen to it. it's - you just have to listen to it. it's noticed so separate. absolutely like the relationship between colours, they interact and they make this are they interact and they make this are the whole but also each colour or each note is clear. [30 the whole but also each colour or each note is clear.— the whole but also each colour or each note is clear. do you think art has helped — each note is clear. do you think art has helped you _ each note is clear. do you think art has helped you understand - each note is clear. do you think art has helped you understand the - each note is clear. do you think art - has helped you understand the world? has that shaped your understanding of the world? filth. has that shaped your understanding of the world?— of the world? oh, i don't know. no, no, ithink— of the world? oh, i don't know. no, no, i think that. .. _ of the world? oh, i don't know. no, no, i think that... yes, _ of the world? oh, i don't know. no, no, ithink that... yes, i— of the world? oh, i don't know. no, no, i think that... yes, i do, - no, ithink that... yes, i do, actually. i think that artists have, painters have borne witness. it is

one of the tasks, so to speak, to changing circumstances and events, to horrors as well as to wonders. and so to hold a mirror up to human nature and reported faithfully... you said in 2009, for the last 50 years, it has been my belief that, as a modern artist, you should make as a modern artist, you should make a contribution to the out of your time even if it is only a small one. so what do you think your contribution has been? i couldn't... i couldn't say- _ contribution has been? i couldn't... i couldn't say. that _ contribution has been? i couldn't... i couldn't say. that is _ contribution has been? i couldn't... i couldn't say. that is what - contribution has been? i couldn't... i couldn't say. that is what for - i couldn't say. that is what for other people too and i suppose that

i hope that when you ask me if i could make a contribution at the time, hopefully that i can in some way to order, stability... to pleasure. tojoy way to order, stability... to pleasure. to joy of living. way to order, stability... to pleasure. tojoy of living. you know, the great privilege we have in being alive. and so especially when i think that, you know, with the time that i have still i want to make the most of it and actually explore further some of the possibilities i see.— explore further some of the possibilities i see. lovely. thank ou ve possibilities i see. lovely. thank you very much- _ possibilities i see. lovely. thank you very much. thank— possibilities i see. lovely. thank you very much. thank you - possibilities i see. lovely. thank you very much. thank you very l possibilities i see. lovely. thank- you very much. thank you very much indeed.

good afternoon to you. today it looks like most of england and wales should see the best of the sunshine whereas tomorrow it is going to be scotland and northern ireland. yesterday's wet weather which potter wash out for the south—east. this new weather fronts pushing wash out for the south—east. this new weatherfronts pushing into western scotland, northern ireland, western scotland, northern ireland, west wales on the far south—west for the afternoon. some splashes of rain and heavy showers. further east, a fine —looking afternoon with good spells of sunshine. much better in the south—east. 0ne mild, too. tomorrow it is a reversal of fortunes in the weather front foot will be lying across large parts of england and wales. showery burst of rain. heavy showers into the afternoon whereas for much of scotland you will see the best of the sunshine getting into west wales and the far west of england but i think temperatures are not down across the board and high teens and low 20s for many. through the new week it looks like low pressure will

always affect the north—west of the country so here are breezy other cloudy outbreaks of rain whereas further south closer to high impassioned it should stay drier, warmer a better chance of seeing the sunshine. see you later.

this is bbc news. i'm martine croxall. the headlines at two: the uk chancellor, rishi sunak, says g7 finance ministers from the world's leading economies have reached a historic deal to reform the global tax system during talks in london. i think the crucial thing for people to take away is the principle of fairness. that is what we have achieved today, to ensure that there is a level playing field for all types of companies. testing is ramped up as the uk sees the highest number of new covid infections in two months, raising more question marks over the further relaxation of restrictions. for the first time in nine months, people in glasgow will be able to socialise in each others homes and drink alcohol in pubs and restaurants, as parts of scotland move to lower restriction levels from today.

and we are live from coventry