Prior to becoming a full time (self-taught) visual artist, Peter Sedgley trained as an architect. Under the influence of Bridget Riley – the grande dame of British op-art – he will devote himself to the making of optical illusions with a rich palette of colors. Experiments with light and movement result in 'video-rotors' where electronically programmed patterns of light are played on. From 1970 onwards he combines color and light in his works, and also starts on larger-scale projects. His architectural background certainly plays a role in the manner by which he wishes to bring form to the environment, far beyond the limited scope of the work of art. He does do, amongst other things, with environments where spectator movement triggers photoelectric cells, causing colors to change. Of course, we can associate Sedgley's work with the London of the swinging sixties, and interpret it as a successful translation of the culture of cool. The artist himself, however, places his oeuvre within a more historic perspective: 'Movements and -isms in art interest me little since they tend to be short lived affairs. My own work has been identified with constructivist tendencies and I have no serious objections to this since I respect the spirit in which it is made. "Isness" is a designation coming closest to my aspirations.'