Peter Sedgley studied architecture at Brixton Technical School during 1944-46, but pursued a career as an artist. He rst exhibitied at McRoberts and Tunnard Gallery and at Howard Wise Gallery, in New York. In 1966 he was a prize-winner at the Tokyo Biennale. By then he was concentrating on 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’.
He was one of the artists selected by the Museum of Modern Art in New York for its 1964 Responsive Eye show; this led to his being taken up by the Curzon Street Gallery and then the Redfern. He was asked to design tiles for Pimlico station (yellow dots on a white background, vaguely Damien Hirst) and met Yoko Ono and the Beatles – who, he says, ‘were very dismissive of her work at first’.
He was part of a group, also including Bruce Lacey and John Latham, who met at a place called e Middle Earth in Covent Garden and created Whscht (which was supposed to be how you spelt a whistle) to stage happenings. ‘If newspapers were blowing around Tottenham Court Road we’d come along and glue them down.Tthe point was to provoke, to see how the public responded.’

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At the end of the decade Sedgley was one of the founders (with Bridgit Riley and Peter Townsend) of Space, an organisation that leased buildings to provide studios for artists. Not long after securing a studio in their rst building in St Katharine’s Dock, he was awarded a grant to work in Berlin, where he continues to live. In recent years he has been making large artworks which re ect his interest in incorporating technology and the elements: his 1997 Colorama, in the Conference Centre in Dubai, is a solar-activated mobile of glass and steel.
‘ There was innovation all the time,’ he says of the Sixties. ‘ That’s why the period continues to fascinate us. That, and that it’s recent enough for its history still to be up for grabs.’
In the 1970s Sedgley exhibited widely in Germany, where he was commissioned an audio-visual display for the Donaueschingen Music Festival, in 1972. The following year he had a retrospective at Ikon Gallery, Birmingham. Sedgley also exhibited with the Redfern Gallery and was included in e Sixties Art Scene in London, Barbican Art Gallery, 1993.
Public collections include The Arts Council Collection, London, Birmingham City Art Gallery, Bristol City Art Gallery, Chase Manhattan Bank, New York, Gulbenkian Foundation, Lisbon, Nagasaki Museum, Japan, Northern Ireland Arts Council, Peter Stuyvesant Collection, Schwedische Nationalsammlung, Stockholm, Tate Gallery, London, Victoria and Albert Museum, London, Walker Art Center, USA, Winnipeg Art Gallery, USA.

Works by Peter Sedgley