An emblematic figure of geometric abstraction in Belgium, Jo Delahaut began painting expressionist canvases in 1940. Then, influenced by the style of Auguste Herbin, he constructed static geometric forms in which, at first, the colour of the surfaces played the main role. Over the years, his work became purer and more minimalist, conducive to awakening the mechanisms of intellectual activity. Around 1952, repetitive forms or serial modules appear on the canvas and develop a dialogue with the chromatic planes that define, support or extend them. The sign, through its colour as well as through its form, through its colour-form, extends beyond the surface and provokes space in the double sense of the term; it is a generator of energy. His art speaks for its simplicity, its sensitivity to the dynamism and harmony of colours and forms. “Signs, colours, rhythms and their infinite combinations are means that mysteriously touch the unexplained springs of consciousness, to provoke certain deflagrations of the intellectual faculties, to reach deep into the stimuli of the spirit” explains the artist. The work is therefore not only a support, it is an active force and can therefore have a physical effect