In François Morellet’s oeuvre, painting, light art, sculpture and graphic art all coexist. The artist quickly developed a grammar that lies at the heart of his conceptualization. In the 1960s Morellet investigated the possibilities of kinetic art and went in search of a medium with which he could express his fascination with the importance of coincidence, movement and optical effects. From '63 he created items in light with neon tubes. Like the American minimalist Dan Flavin, he allowed space and light to interact, creating a sort of a ghostly intangible sculpture. But the undertone of his personal sense of perspective positions Morellet closer, in terms of content, to Dadaism than to Minimal Art, with which he is formally linked.
