In 1968 I left the "analog" symbolic language of abstract painting to transform it into a "digitized" rhythmic (monads). Rows of numbers appeared, the colors were deliberately used systemically, numbers as qualities. Up to the monads "Concordia" I used a dual system of colored/material and white/spiritual monads. Starting with the "Monads Real Presence" a unity rhythm developed.

Holons the building blocks of the universe: Holons or the seemingly endless series of "parts/whole" that fundamentally make up reality as we know it. The term monad, in terms of natural philosophy, refers to an imagined unity of both physical and mentally significance. Simple substances that add up to complexity - entelechy. The fundamental of the nature shows up as systemic shape and not in the materially always smaller!

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.