As Julie Bawin explains in a text published in l’Art même in 2007: “If there is one artist whom no consideration of fashion seems to divert from the path he has determined to follow, it is Pol Pierart. Away, almost in secret, he develops a constant and coherent body of work which has the unpredictability of continuing to hold the eye, to shake up our habits of vision and to put an end, temporarily, to the triumph of demonstration. Throughout his exhibitions, we are always won over by the little discoveries of a man who, if he does not like public speaking, plays skillfully with words, the irony of shifts in meaning and the fantasy of innuendos (...) l’Art même in 2007: “If there is one artist who seems impervious to fashion trends and unwavering in his chosen path, it is Pol Pierart. Working quietly, almost in secret, he has developed a consistent and coherent body of work that is unpredictable in that it continues to capture the eye, challenge our viewing habits and put a temporary end to the triumph of demonstration. Throughout his exhibitions, we are always captivated by the little discoveries of a man who, although he does not like to speak in public, skilfully plays with words, the irony of shifts in meaning and the fantasy of innuendo (...) The artist says that his painting allows him to go straight to the heart of the matter, enabling him to capture the physical presence of the word. Thus, unlike his photographs, which grab the viewer’s attention through meaningful associations and the staging of aphorisms and other wordplay, his paintings surprise us with their economy of means and rhythmic syntax limited to a single word. In fresh colours, the painter quickly sketches letters that form a seemingly innocuous term. Anyone familiar with the artist knows what comes next: through a series of crossings-out, overlapping lines and altered letters, the original word takes on a new meaning and invites all kinds of interpretations, excursions and detours. Like comets, the letters zigzag through our thoughts. They move quickly, strike the right chord and match the detached irony of the message conveyed. Behind the apparent lightness of the semantic interference lies a gravity that is barely acknowledged.”