Around 1970 he discovers square and circular formations that find their way into different picture series. In clearly structured, strong-coloured paintings on cardboard he develops object-like symbolically abstract structures. In expressive great surface compositions on wood he touches forms, structures and moods that evoke material and emotional associations.

In the seventies he presented more concretely definable objective motifs within an abstract, possibly Zen-inspired frame, the hand-drawn black circle, which at the same time expresses absoluteness and uniqueness. The black represents the non-coloured, the general and the beyond, as opposed to his absolutely selected polychromy as a symbol of animate being with all its joys and sorrows; this way he also achieves a new evaluation of scenic, biological or erotic motifs.

The calculated confrontation of the abstract with concrete object quotations since the mid-seventies shows him as an protagonist of postmodernism. He turns the black circle into an enclosing framework, which mutates into the stage for dramatic - comical, scene-like extracts of the world theatre. Under the impression of a serious health crisis along with depressions, he invents the cube on pillars, a structure as much black as absurd, which blocks the pictorial space and crucially influences the rest of the picture’s surface. It becomes the code for many a burden that man has to bear in order to make the most of the rest of beauty, pleasure and joy of life. Similarly important roles are attributed to the quoted archetypical objects vessel and fruit, tree and rainbow.