Between 1966 and 1968 my style of painting underwent a development from expressive to symbolic abstraction. In 1968 I left the "analogous" symbolic language of abstract painting behind in order to transform it into a "digitalized" language of meaning (monads). Series of numbers cropped up, colors were used systemically quite on purpose, the number as quality - kabbalistic concept--appeared already; up to the monads "Concordia" I employed a dual system of colored-material and white-spiritual monads.

Monads: simple substances that fuse into complexity; entelechy, human form-soul aspect (this interpretation need not be fully commensurate with the concept of monads as expounded by Leibniz).

The infinite number of possibilities of a self-perpetuating dualism stirred within me a yearning for something "more real", for "presence" (my concept at that time), or "real presence"; in the pictures"Real Presence 1" to "Real Presence 4" I turned it into reality.

The monadic rhythm invaded me, from now on my focus was on transformation, fusion, dissolution; the "Transformation Monads 1-3" triggered a process directly flowing into the Cosmograms.