The eighth and final phase involved starting again from the last one and reinserting the original planes of colour, while leaving only the imprint of the grid.
Those planes which were originally not coloured remained “punctured”. On the other hand, those in the three primary colours have been given some light shading, as if they were slightly recessed in the canvas.
In this case as well, there was a play of opposites.
I applied the same form of transformation, together with all the preceding ones, to each of the other selected works.
I would like, however, to point out one detail in relation to this last phase, with regard to works nos. 36 to 46.
These contain some small patches of colour not surrounded by black lines. They look as if they are not trapped in the grid, but are instead free to move about.
And so it follows that the areas of canvas surrounding these coloured patches do not require “stylized puncturing”.
The result is that these patches appear rather like cracks, or like windows in the face of a modern building, constructed to a rationalist design.
Better still, I would say that the end result exemplifies, in a stylized form, the very spirit on which the “De Stijl” movement was founded.
Indeed, one of Mondrian’s pictures could well be construed as the architectural image of a building.
In this regard, I would not exclude the future possibility of making a series of sculptures, which would reproduce the images I have created in three dimensions, in particular the images from this last phase.