In addition to designing and carrying out projects for architectural glass installations Warner Berckmans also regularly produces autonomous expressive work. Over the past few years, Berckmans' work has evolved to almost exclusively using blue plate glass without any surface structure to create spatial pieces that relate to the environment within which they are placed. Temporary installations are not unwarranted. Rather than repeating a previous installation,
an ever-changing relationship with the environment is purposefully sought after so that a new piece is actually created with each new presentation.
The use of ultramarine blue provides an unmistakable reminder of International Klein Blue and undeniably shares the same immaterial effect. In contrast to Yves Klein, who went out of his way to avoid lustre or reflection in his use of pigmentation, thus màximising the immaterial effect of the blue colour, Warner’s glasswork aims to connect with both the environment and the spectator through the use of reflection and transparency. Spectators are forced to choose where they stand within the triangular image-space-spectator relationship.
As well as the series of large three-dimensional pieces, Warner also produces smaller mural pieces using the same glass. These are presented blind on a white background which increases the intensity of the blue. The interaction with the environment becomes less important and the relationship with the spectator more intense. The perfectly smooth and uniform area of colour has its neutrality stripped away through the use of small, simple technical procedures, creating tension within the image area which assumes meditative and introspective character.
As a result, both series can be considered as a search for the representation and visualisation of relationships, positions and proportions within space and time, in the broadest sense of the meaning.