In Schuman station, Pieter Vermeersch chose to establish his work in two places: under the U-shaped bridge that supports the railways and crosses the metro station, and above two escalators, which connect Hall B of the SNCB to the platforms of the metro. At the U-shaped bridge, the artist has used three primary colours: yellow, red and blue. A minimal palette, but enough to allow him to create all the other colours. There are actually two U-shaped bridges, and the artist has treated each of the two tracks separately, relying on the split surfaces created by the architecture. Each area between two pillars gradually changes colour, one of the three colours mentioned, from white to 100% saturated colour. Using this process introduces a duration into the painting, and the rhythm that is established accompanies the daydreaming of the passenger on the platform, and the succession of trains that pass through the station. Above the escalators, the artist’s work references his paintings, and he draws his inspiration from reality. Pieter Vermeersch photographs the sky. He creates his murals from these photographs, pared down to subtle changes in colour. The passenger only discovers the work on the vertical spandrels above the escalators when descending to the metro platforms. The dark colour of a stormy sky appears first, before fading and evolving to a milky yellow. Although the light is directed at the top of the mural, the descent underground is the opposite of the traveller’s experience, which passes from an image of darkness to one of light. As such, the artist accompanies the movements of passengers and offers them the freedom to look, think and dream.