In his paintings as well as in his prints and watercolours, Claude Vermette pursued this bold approach while constantly renewing and expanding the possibilities of colour and light.
In 1952, his interest in ceramics expanded during a study tour in Europe and especially in Italy where he met the architect Gio Ponti, a major player in the rebirth of modern Italian design and founder of the magazine Domus and the sculptor-ceramist Fausto Melotti.
Thereafter, Claude Vermette concentrated his efforts on architectural ceramics for which he created new forms of composition for the clay, a wider variety of modules for tiles and bricks, and new patented enamels.
[3] Claude Vermette also felt the need to pursue research that initially evolved into the creation of small-scale ceramic works where he experimented with new forms, textures and glazes and later also included engravings, sculptures and especially painting.
Vermette was also interested in creating watercolor works of all sizes such as, among them, a giant mural of over 80 meters long at Bell Trinity Square Office in Toronto.
This challenge of uniting the work of a painter and that of an economist is reflected in the execution of this book which includes an abstract watercolor where dominate color and movement and a series of nine articles on the theme of freedom.
At the time of his death, he had just finished replacing the five exterior aluminium enameled murals he had created for the walls of the Beaver Lake Pavilion on Mount-Royal in Montréal, which were initially made in ceramic in 1958 and were unfortunately victims of demolition.