After a cursory glance at Bekaert’s works, you might think that the arrival is less important than the journey itself. The process seems heavier than the result. His art employs frontal viewpoints with parallel retroceding planes and pictures objects on a distant manner as a result of which the objects are reduced to their geometrical meaning: a luster becomes a circle and a palm tree a vertical rectangle. His painting style – layered, comprehensive and pictural – is aimed at the creation of, at first sight, insignificant, or better, unidentified images. By way of this technique, the viewer sails trhough the area that lies between awakening and sleep, between figuration and abstraction. Entangled in space and time. The boundaries of the works are nearly lifted, merely marked by an enlighted object from the inside that reminds you of that warm image that left you when awakening. But nothing remained except the reminiscence of something secure and the idea that it is right. That is why his art seems to know exactly what it provokes as a result of which it appears absurd to complain that you would like to see the images a bit more pictorial: the vagueness is a key element for Bekaert. It is not the kind of vagueness that occurs when to much layers are applied on a canvas but it is a synonym for fragility as if he breaks through his restraints; as in a dream.