In his latest works a stressed rational definition of the Pannonia space within a two-dimensional field of the painting becomes evident, whereby the said definition  can be drafted horizontally or vertically; in this way it can determine and set the rim and conditions as regards the central field of the painting, within which not only exists but also occurs and continues an occurrence bound to an object, a figure of mimetically shaped and expressively perceived condensed shapes and nuclei, realised through a wide stroke of the painter’s brush and vivid, intensive and fluorescent colours, within which the white planes tend to create a very special dramatic charge.