| Peter Sedgley | |
| Birth Date: | 19 March 1930 |
| Birth Place: | London, UK |
| Education: | Brixton Technical School, London |
| Occupation: | Artist |
| Nationality: | English |
| Url: | www.petersedgley.com |
| Movement: | Op art Kinetic art |
Peter Sedgley (born 13 March 1930, London) is an English artist associated with Op art and Kinetic art. He co-founded SPACE and the Artist Information Registry (AIR) with Bridget Riley in 1968. (Note: His name is sometimes misspelt as Sedgeley).[1]
Peter B. Sedgley was born in London. His father was a railway engineer.[2] He studied building and architecture at Brixton School of Building from 1943 to 1947. From 1948 to 1950 he completed national service with the Royal Army Ordnance Corps (RAOC) in Egypt.[3] He worked as an architectural assistant from 1950 to 1958. In 1960 he set up a small design and construction firm making “prototype dwellings and furniture”.[4] In 1963 he began to make art full-time. In a 1967 interview he said, “I wanted to concern myself with philosophy. I felt the need to get away and involve myself with the investigation of ideas… and this led me to painting.”[5]
Sedgley married Marguerite Wiltshire in 1951. They had two children.[6]
Sedgley was “entirely self-taught” as an artist.[7] He was initially influenced by Bridget Riley, Harry Thubron and Bruce Lacey.[8] As his work progressed, he developed “a preference for circular forms.”[9]
Sedgley met Riley in 1961. Of his influence on her, she said “I did not know how to make a curve, even how to use a ruler, till I met Peter. I was still working on my kitchen table. He had to teach me geometry so that I could make the things I knew ought to be.”[10] In the mid-1960s Sedgley and Riley taught at Byam Shaw Art School, Kensington where one of his students was James Dyson. About Sedgley and Riley, Dyson said, “From them I learnt how to see and understand form, and ultimately how to draw it.”[11]
In 1966 the Canadian art dealer, Jack Pollock took some of Sedgley's pieces, together with those by David Hockney, Richard Hamilton and Riley, to exhibit in his gallery in Canada, about which he wrote, “I realized that a show of this work in Canada could have a tremendous impression, not just on buyers, but on artists. I thought they would do very well to be able to see, absorb, really look at this inspiring new work. And they did – they learned a great deal.”[12]
In the late 1960s Sedgley became interested in the possibilities of using coloured light. This interest began accidentally while setting up lights for an evening exhibition. While trying to find a form of light which approximated most closely to daylight, he became aware of the varying effects of different lights on his targets.[13] This experimentation led ultimately toe Sedgley's creation of art using artificial light. His first work using electric light was a “light ballet”, a moving light installation at Trinity College Dublin, and the Camden Arts Centre, London, in 1970.[14]
His experiments led to the creation of ‘videorotors’, painted discs programmed with patterns of light, using coloured light, filters, ultraviolet and stroboscopic light. Together with Frank Stella, he was “among the first painters to make use of fluorescent materials” in his work.[15]
He worked in London until 1971 when he moved to West Berlin[16] as part of the DAAD (German Academic Exchange Service) Berlin Artists Programme.[17] He remained in Berlin after the formal exchange ended, but had returned to London by the 1990s.[18] He considered his work “‘international’ in spirit.”[19]
In Germany, Sedgley was “mostly concerned with the use of electric light and kinetic sculpture.”[20] His first permanent installation was “Night and Day”, at Hermann Ehlers Platz Steglitz in 1974.[21] He also experimented with the addition of music to his installations, for example at Donaueschingen Festival in 1974, when he employed music directed by Jörg Höller. Around this time, he also worked with composers Eberhardt Blum and Morton Subotnik.[22]
In 1968, Sedgley and Riley were using Riley's house in Notting Hill as their studio, but their work started to become too large for the space. Riley said “Peter wanted to build a geodesic dome in the house, and he did it,” however, it was “a tight squeeze”.[23] In the same year, they developed the idea of an Artists Information Registry (AIR), a “central repository of information about artists’ work, which would be available for open consultation”.[24] This meant that buyers could contact artists directly, cutting out the need for agents. The need for somewhere to physically store this information led to the idea of a location that would house both AIR and artist studios.
In January 1969, inspired by studios they had seen while in New York for “The Responsive Eye” exhibition,[25] SPACE (Space Provision Artistic Cultural and Educational) was established at St Katharine Dock, London, as a “scheme for artists’ studios.”[26] [27] Sedgley was secretary of the organisation[28] and worked almost exclusively on the running of both SPACE and AIR.[29]
The success of SPACE led Sedgley to develop a similar set-up in Berlin. The first exhibition, London Now in Berlin, featuring the artists who were using the London SPACE studios, was held at Messehalle, Berlin in 1971.[30]
In November 1969, Sedgley became a founding member of the Systems Group which also included Richard Allen, Peter Loew, Jean Spencer and Gillian Wise. They “developed canvases and constructions organised in arrangements free from painterly 'accident', subjective sensation or emotion, exhibiting regular constants and variables.”[31]
Together with Bruce Lacey, John Latham and others, he created a group called Whscht (how one might spell the sound of a whistle) which staged ‘happenings’ that were designed to provoke a response from the person in the street. He gave an example: “If newspapers were blowing around Tottenham Court Road, we’d come along and glue them down. The point was to provoke, to see how the public responded.”[32]
| Exhibition | Location | Detail | |
|---|---|---|---|
| 1965 | One-man exhibition | McRoberts and Tunnard Gallery, London | |
| 1965 | One-man exhibition | Howard Wise Gallery, New York | |
| 1965 | The Responsive Eye[33] | Museum of Modern Art, New York | Also featuring Albers, Brach, Riley and Stella |
| 1967 | One-man exhibition | Richard Feigen Gallery, Chicago | |
| 1967 | 9th Tokyo Biennale | Tokyo | |
| 1967 | One-man exhibition | Richard Feigen Gallery, Chicago | |
| 1967 | Pittsburgh International | Carnegie Institute, Pittsburgh | |
| 1968 | British Drawing Exhibition | Museum of Modern Art, New York[34] | |
| 1969 | Light Show | Greenwich Theatre Art Gallery, London[35] | |
| 1971 | London Now In Berlin | Messehalle, Berlin[36] | |
| 1971 | One-man exhibition | Haus am Waldsee, Berlin[37] | |
| 1973 | 10 year retrospective | Ikon Gallery, Birmingham[38] | |
| 1974 | One-man show | Arnolfini gallery, Bristol[39] | |
| 1986 | Venice[40] | ||
| 1988 | Sculpture | Cardiff Public Library, Wales[41] | |
| 1993 | The Sixties Art Scene | Barbican Art Gallery, London[42] | |
| 1993 | Ready, Steady, Go | Touring[43] | Featuring 1960s paintings from the Arts Council's collection |
| 1997 | Colorama | Conference Centre, Dubai[44] | A solar activated mobile of glass and steel |
| 1998 | Charged Light | Royal Academy, Stockholm[45] | |
| 2004 | One man show | Austin/Desmond Gallery, London[46] | Kinetic works |
| 2009 | One man show | The Redfern Gallery, London[47] | Retrospective |
Sedgley's work is in the following collections:
Arts Council England, Arts Council of Northern Ireland, British Council, Manchester Art Gallery, Tate, Victoria and Albert Museum.[48]
Art Museum of Atenuem (Finland),[49] British Embassy, Berlin (Germany),[50] Chase Manhattan Bank, NYC (USA),[51] City Museum, St Louis (USA),[52] Dartmouth College Museum and Galleries (USA),[53] Indiana University Art Museum (USA),[54] Museum of Modern Art, Rio de Janeiro (Brazil),[55] Nagasaki Museum of History and Culture (Japan),[56] Stuyvesant Foundation (South Africa),[57] Walker Art Center (USA)[58]