Morellet’s oeuvre has clear links with the Op Art and Kinetic Art of the 1960s. His geometric compositions of lines, squares and triangles arise out of the systematic application of predetermined rules. He also allows chance to play a part in this controlled process of creation. This results in neutral, universal images from which subjective choices are as far as possible excluded. But it would be too limiting to approach Morellet’s oeuvre only from this angle. His titles not only offer a phlegmatically serious insight into the way the works came about, but often also have a humorous double meaning. Morellet, ironic and deliberate, elegantly puts into perspective his self-imposed artistic rules and, more broadly, also the myth of creation and the earnestness of art, thereafter returning to a more serious view.0Exhibition: S.M.A.K., Ghent, Belgium (13.9.2014-11.1.2015).