Since the 1960s, Op artist Peter Sedgley has been producing luminous paintings of circles and optical explorations of light and kinetics. Trained as an architect at the Brixton Technical School and then serving as an assistant in architectural firms during the 1940s and '50s, Sedgley began to paint in 1963 and pursued his career as an artist. Along with Bridget Riley, Sedgley established S.P.A.C.E. (Space Provision, Artistic, Cultural and Educational) which administered studio space to young artists. In his work, Sedgley began experimenting with elements like video-rotors (painted disks programmed with patterns of light), and later, incorporating sound with his changing colours. In his space-related, environmental works, Sedgley creates art where light, prisms and projections are animated by kinetics.

Peter Sedgley is a leading figure in the Optical and Kinetic movements who came to prominence during the 1960s. Born in London, Sedgley studied architecture before devoting himself solely to visual art from 1959. Peter Sedgley's first solo exhibitions in 1965 were held at McRoberts and Tunnard Gallery, London and Howard Wise Gallery, New York. He was included in the influential Responsive Eye exhibition at MOMA, New York in 1964 and was a prizewinner at the Tokyo Biennale in 1965.

Complete set of six kinetic screenprints, 1969, on aluminium, signed, titled, dated '1970' and numbered from the edition of 100 incised verso, published by Editions Alecto, London, each disc 75 cm. (29 in.) diameter, all contained in the original black wooden box with titles on the top, lacking the motor and ultra-violet light unit, crate: 80 x 84 x 23.5 cm (31 1/2 x 33 1/8 x 9 1/4 in.). Only half the edition was produced.