Since his first exhibition at ProjecteSD back in 2005 Vermeersch’s work has evolved consistently through a strong and unbreakable single mindedness of artistic vision. Color and light, time and space and the intersection of these intangible elements are the notions that have been explored by the Belgian artist since the very beginning of his career in the late nine-ties. An artistic research that continues, flowing and expanding with the experimentation on new materials. His mural works continue to grow and develop engulfing and subverting space. Either being conceived for exhibition spaces or adapted to already existing architectural sites, large gradation wall paintings and installations play an essential role in Vermeersch’s practice. His well-known ephemeral palette and his smooth combination of colors in a given space is the result of the artist’s reaction and perception of each space.

The mural works and his works on canvas, always coexisting in his practice and not being possible one without the other, are complemented with his most recent works on marble. Confronted with these geological layers accumulated on the sto-ne, Vermeersch takes on a modest, subtle gesture, a simple touch of his brush on the stone that he sees as “an image”. An image of time, as untraceable, as ungraspable as his “spacial gradient paintings”. Vermeersch reads the kaleidoscopic quality of the marble, to reactivate it, leaving a mark, disarming in its transience, on a slice of time.

Pieter Vermeersch fifth exhibition at ProjecteSD is somehow a synthesis of his current practice. One more time he reacts to the spatial context of the gallery conceiving two large mural paintings that change and transform the perception and the dimension of the room. These continuous, weightless golden and silvery walls are flanked by three reddish large-scale canvases that almost behave as a third mural painting. Their tallness and verticality opposed to the wideness and almost landscape feeling of the two murals. In contrast with these works, an off-white brick wall is built in an angle in the center of the room. A daring, deliberate disruption that is used by Vermeersch to insert a dissonant note, an element of roughness, a twist in the space that emphasizes the asymmetry of his installation. A series of new marble works of different formats and qualities are inserted in the installation, in an attempt to transcend the “painting” sphere to enter, in some way, the territory of sculpture. Two dimensions evolving to become three and three melting back into two.

Vermeersch exhibition maybe should be perceived as one entity, a space for the viewer to walk through, to be immersed in Vermeersch’s metamorphosis of painting, perfectly unfinished, almost disappearing.