Léon Wuidar was born in Liège in 1938. From his childhood, during the war, he remembers his fathers very old house and business. He took pleasure in discovering its spaces, from the cellar to the attic, and spending time there alone. His curiosity was just as great in discovering vacant lots, houses collapsed after the bombings.

Paintings fascinated him from a very early age. First the masterpieces of the past, until Léon Wuidar had the shock of the discovery of abstraction: two color reproductions of works by the Englishman Ben Nicholson. “As if the sun flung itself to my face!” he said.

He had to choose a trade, but the desire to paint was there. Drawing professor seemed to be the fairest.

For twenty years it was normal education. Then, thanks to the hazards of life, it was artistic education: graphic arts at the Academy of Fine Arts in Liège where Jacques Charlier joined him the following year, here again for another twenty years.

At sixty, Léon Wuidar resigned and began his activity as an independent.

On the friendly side, he quotes Jo Delahaut whom he was going to see regularly in Brussels and with whom he had important discussions. Another friendship, is one with Charles Vandenhove who supported his work as a painter very early on and who agreed to design him a house (1976), enlarged twenty years later, where Léon Wuidar first appreciates its space, light and silence.

If Charles Vandenhove asked him several times for interventions in his projects (wainscoting at the University Hospital of Liège and Paris; mural composition at Ridderkerk Town Hall (NL), Léon Wuidar also worked with Claude Strebelle (monument to Dial in Liège); with Bruno Albert (Cortile pool in Maastricht); with Jean Barthélemy (MET grid in Namur); with Roger Bastin (two reliefs at the arsenal in Namur); with Herbert Pfeiffer (telecommunication training center in Darmstadt).

When Léon Wuidar began painting as a self-taught artist in 1955, it was all over the place, driven by his curiosity. It was in the sixties that he abandoned figuration for an increasingly geometric painting. It would be a shame to see only geometry among straight lines and curves and to ignore an imaginary world.

Léon Wuidar keeps playing with ambiguities.

For years, all this work is carefully prepared in very small sketchbooks where his projects, notes, research is accumulated and documented.