In the 1990s, this complex art is not really intended to challenge the art context, which gradually comes to be dominated by art with political correct aspirations. De Sauter's works has to do with silence, with growing quiet, with meditation, and also relate to for example the work of the American artist Robert Ryman. Not because both oeuvres have a whitenes in common, but because both artists want the play of light to act as an impartial arbitrator with regard to the perception of art. The light defines the ever-changing appearance of a work of art, and every attempt by whatever means to reproduce a work is therefore a falsification of reality and the intrinsic value of the work of art. Ryman's and De Sauter's work are as it were climatologically defined, and in this view the timi and place where the public is, bring (back) the work of art to a "contextual" life.
Art as a clearly distinct object, focussing on a surface that should be considered a diaphanous entity-that sort of art is an exercise in looking. It is an art that a priori claims and slows down the glance.
Huib Hoste's Zwart HuisKnokke, 2018
His projects continually evolve into a total discourse, so that not only the objects, which from way back have always been considered as art, are removed from their support panel and enter into a relationship with the architecture, he also intervenes directly into the building and manipulates, transforms, for instance, its walls. Where does Art ultimately start? De Sauter, famous as an eminent aesthetician, grasps ever more intensely what surrounds him, lets his works ascend into the space, departs from the plane of Modernism or cube. ~Michel Dewilde