Low-relief in tin alloy (1982)
42 panels of 1 m2 cover the circular wall of a pillar in the station hall. Frans Minnaert has consciously used the cylindrical shape of the station’s architecture because it expresses infinity. The work suggests the awakening of life and the continuity of creation. The changing effects of the natural light (lines, points, slots, scratches, grooves, stains, etc.) give the relief a dynamic character that fits with the continual nature of creation and appeal to the imagination. The light which extends over the raised surface comes from two sources: the station dome, which is built in a circular shape and from one side, from the windows which look out on to the street.
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FRANS MINNAERT (1929 – 2011)
Frans Minnaert’s earliest work was close to expressionism, and in the 1960s, after study trips to Yugoslavia, Japan and South Africa, he gradually moved towards the new representation of the time. The contact with South-African landscapes (deserts, rocks, lush vegetation) and the confrontation with the expressions of a culture that is still very close to nature allowed him to express, in a very personal way, the birth and growth of life, the birth of species, creation, etc. Another important development in his work was the decision to paint on untreated brown canvas. This enabled Frans Minnaert to work in a more spontaneous and impulsive way. He never creates a work of art from a project but rather from an idea. And this idea only takes form during the creative process.
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