Period 2: Stoneman (1970 - 1980)

My formula for the stonepaintings revealed itself when grass and trees were no longer relevant to the world of strange phenomena in which I was immersed. Stone turned into a symbol for all matter.

The strength of stone was able to communicate the idea that man is in a constant struggle, to fulfill the desire to be strong, to live long, to transcend a body made of flesh and bone and to defy gravity. My images depict light as the source of all matter, with man striving to be reunited with it, in a quest to transcend the limitations of matter.

With my move to New York City in 1974, the STONEMAN appeared as an alien on the New York art scene. However, after public debues in the futuristic magazine OMNI and art collections of psychologists and researchers, the stoneman was welcomed. The triptych LIFE-POLES (1977) is the climax of this period.

The STONEMEN concentrate their energies as they disappear in a BLACK HOLE, become GRAY MASS and rejoin in WHITE LIGHT. Charged with NEW POWERS their bodies become transparent. At times my stonemen disappear into time-portals in the surface of the earth.

Philosopher's Stone

The first 40 paintings of Period 2 (STONEMAN) spontaneously formed a logical sequence, which inspired the compilation of these as a book entitled “Fundamental Images”, and later also as a card deck, the PHILOSOPHER'S STONE, selling 20.000 copies worldwide (currently out of print). On each of the cards, numbered from 1 - 40, there is one image which has been titled according to a universal theme that I associate with the image. The cards establish a dialogue between the images and the user, while communicating a suprisingly accurate reflection of the user's life circumstances. The 40 cards are shuffled, 5 are picked and laid out CROSSLIKE. The PHILOSOPHER'S STONE is a playful dialogue between TRUE ART and the ART OF TRUTH with the user as an active participant.