‘La fin des certitudes’ is the title of Ilya Prigogine’s last book. It was also the title Bruno Sluydts used for his 1999 exposition in De Zwarte Panter, Antwerp. The title refers to the link Sluydts closes between a new way of thinking in science, which he refers to in his art. After different periods in the evolution of his own style, from a kind of neo-expressionism, over postmodernism, with reference to mythological themes, the final breaking point grew out of science. After reading some of the new chaos theories, Sluydts got the idea to try these theories out in a plastic way. So the theoretical was made practical. He started from the fractals. The term ‘fractal’ was Benoit Mandelbrot’s idea. He got it from the Latin word ‘frangere’, which means ‘to break’. Sluydts started to split up his painting in fragments, ‘fractals’. He referred to the theory by using Iterations, Mandelbrotsets and others. When the chaos theory was absorbed by the more universal theory about ‘complex systems’, his work became more sober and linked to the sub consciousness. The brains as well as the universe are both complex systems. He called his first exposition about complex systems ‘self-organized’, as unstable dynamic systems organize themselves. He transferred the interaction in nature to painting, leading to titles like ‘Correlation Man’ and ‘Free Order’. The result is a colorful and powerful mix of emotions, science, thoughts and life. In fact, the evolution of his work functions itself as a complex system. It takes loops to his neo-expressionist works, it refers to politics, science and love and it attempts to create a new plastic language. However, Sluydts emphasizes the paintings, less than the theory behind it.