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As from 1955, Paul Hoeydonck is part of the geometric abstract environment. He is less cautious than the 'academic' majority, opting for unusual formats, for wilful, restless compositions with irregularly coloured quadrilaterals that create even more of a dynamic. Compositie 888 - indeed, with 888 four-sided forms - shows how well he assumes the direction of kinetic art. As per the ubiquitous Vasarely, he responds to the ambiguity and instability of perception with an almost mechanical visual language, to ultimately create the illusion of motion.