In the summer of 2020, the Rajko Mamuzić Gallery in Novi Sad devoted a major solo exhibition to GRATALOUP. Organized by Nebojša ("Nebo"), the exhibition introduced Serbian audiences to a significant body of works spanning more than two decades of artistic research and highlighting one of the artist's most distinctive formal approaches: the triptych.

Presented in one of Serbia's leading museums dedicated to modern and contemporary art, the exhibition brought together a carefully selected group of paintings from the series Lueurs, a body of work developed by GRATALOUP from the 1990s onward. Through these works, the artist explored the relationships between light, matter, memory, and the invisible dimensions of reality.

Among the works presented were La Tente du Prophète (1996), Lueur au désert (1996), Sur l'eau – Lueurs bleues et vertes (2003), Ophélia (2005), Petite échelle vers l'infini (2005), Feuilles à l'échelle courbée (2003–2016), and Le Regard du Peintre / Naissance de Vénus (2017), offering visitors a broad overview of recurring themes in the artist's oeuvre.
The exhibition highlighted GRATALOUP's unique use of mixed media, incorporating sand, pigments, metals, and textured surfaces. For the artist, matter is never merely material; it becomes a metaphorical language through which he explores the relationship between the visible and the invisible. As he wrote in 2017, "Sand is the smallest possible visual element," a substance through which he seeks to reveal the hidden structures of the world.

The triptych format occupies a central place in GRATALOUP's work. Far from being a simple compositional device, it allows him to create visual rhythms and symbolic narratives in which space unfolds across multiple dimensions. Fragmentation and unity coexist, inviting the viewer to move physically and mentally through the work while discovering relationships between forms, light, and meaning.

Following the success of the 2017 exhibition Paris – Novi Sad, Galerie du Centre – 40 Years of Passion at the Museum of Contemporary Art of Vojvodina, this solo exhibition confirmed the growing recognition of GRATALOUP's work in Serbia. Hosted by one of the country's most respected cultural institutions, it represented an important chapter in the artist's international career and demonstrated the universal resonance of an oeuvre rooted in poetry, symbolism, and a profound exploration of matter.