Koen Delaere (Belgium – 1970) does not paint in the traditional concept, but uses the matter to create physical surface. Geometric scars and form alteration stemming from frictional force between surfaces that move to precise coordinates. Delaere often uses a method that portrays mirror surfaces of the paintings at the time a piece is created. Work is reflected one against the other, creating a dynamic in his work that signifies the generation of an incompatibility between the floor and surface, including the technical continuity of the painting, its layers within that seek to undo previous layers. The violence of the movement between two paintings scales the integrity that normally characterizes an image. His approach to painting comes within reach of the performative moment of music. As in musical productions, it is in his works that one perceives a “live” performance. A spontaneity that is reflected throughout a concert. There is a randomness, an improvisation and a controlled chaos. We find traces of these elements in his paintings, as well as the freshness of a live performance. His works live on an extension of the present. If on one part a dimension of speed and freshness is perceived, on the other we find a relationship between layers that recalls the ancient frescoes that over centuries have lost its layers to make way for others. Behind this informality, a profoundness of time is created. Behind the layers of paint lie other situations of color and other rationale that are at the base of his works. Delaere destroys to create other shapes. This precise notion to destroy in order to create gives a sense of historical depth. A situation in which to compare the minimalist works and geometry of Schoonhoven and Mondriaan with current pop art in Curacao or Los Angeles. In this way the artist manages to evoke forms of nature and colors of the contemporary metropolis in its chromatic explosions.