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After a few years of experimentation with ceramics, in 1956 Verheyen again begins to paint. New abstract work in warm colours and translucent tints. Gradually, the informal composition of planes makes way for a monochrome continuum with subtle differences of tone. Not an evocation of a landscape; instead, more comparable to a moment in a philosophical investigation into the essence of things. At once sensitive and mysterious, like the misty twilight so often evoked by painters and poets from our clime as consonant expression of human shortcomings.