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Sculpture consisting of a window frame made of pleated aluminium (0,5 cm thickness), chromium-plated afterwards, with a small base.

Signed and numbered (incised) on the bottom in roman numerals for example 'J.V. IIXX'.

Photographed by Gerald Dauphin

The artist's concept of 'Le vide' was the key for the land art project (intervention) in Mullem in 1967. 

The prototype (57 x 36 x 7 cm) was made in 1965 by the artist's father-in-law, Leon Franque.

Verheyen also conceived its counterpart; 'Le plein' as being the opposite of 'Le vide'. However, 'Le plein' was only realised as protoype (65 x 41,5 x 7,5 cm). 
Both prototypes of 'Le vide' and 'Le plein' were exhibited during Verheyen's participation at the Biennial of Venice in 1970 (Belgian pavilion)

The multiple was planned as an edition of 20, but it is unkown whether it was fully executed as such or not.

Le Vide is the ultimate window on infinity. It directs

the gaze, to everything and to nothing. Looking

becomes staring into emptiness. Art thus loses

its material form. In 1967, Verheyen and German

artist Günther Uecker hold a joint happening.

They install Le Vide – French for ‘emptiness’ or

‘the void’ – in a field, in Mullem, East Flanders.

That open-air exhibition, Vlaamse Landschappen –

Flemish Landscapes – is a nod to Verheyen’s

identity as a Flemish painter. His paintings are

also voids, windows through which he explores

the suggestion of infinite space.