Peter Sedgley «Video Disques» 1968.
«For 10 years, between 1963 and 1973, Sedgley was the partner of Bridget Riley and at the centre of the London art world, Op-Art in particular. His own work later became more kinetic, and now he is preoccupied with the effects of light and chance, but he retains a fascination with optical effects and ways of seeing.»
Video Disques 2: YOU, 1968
Rotating painted Disc with ultra-violet light, 80 cm ø.
Video Disques 1-4
Summer of Love, Tate Liverpool, 05/27/-09/25/2005.
Kinetic art of filterglass, wood and halogen light, 160 cm ø.
Sedgley's painting has always explored the optical interreaction of colour and form in order to achieve a kinetic effect. Deeply interested in colour, Sedgley sees it as having a similar place in
the metaphysics of vision. He has produced severly geometrical work, using recurrent concentric circles, his favourite form due to the fact that it allows greater concentration on the colour corresponding more than anything else to the intrinsic geometry of the eye in its orbital socket. Concentric orbiting circles seem themselves to move and pulsate on the black background, giving
an almost hypnotic effect. The circles seem to leave their support and travel towards the spectator like orbital rings of intense light.
Sedgley, 74, began as an architect, but by the early Sixties had turned to painting, making linear pictures, initially, and then concentric circles in bands of colour which he later airbrushed to achieve soft overlapping colours, 'so that, without movement, you have this kinetic effect.»