At the beginning of the 1990s, his picture thinking, feeling and making stepped into a completely new phase. The motives and experiences of pictorial works in the 70s and 80s, closed and fulfiled themselves.The disorientation of the new beginning called for a summary, for a balance.

Wherein did the substantial of the work of the past lie, and which could be sustainable for the future work?

The substancial issue has always been the multi-dimensionality of the human being.
The central forces that make up a human being are imagination and fantasy versus intellectuality, emotiveness versus sensuality, immateriality versus materiality but also creativity. The ghost of the old times is also the spirit of the new times. For him, as a painter, the driving force is the dose, the way and the nature of a human being.

Now, what was the new idea at the beginning of the 1990s?

The motor of his artistic activity in the 1970s and 1980s fed itself from the deeply valid need for consolatory self assurance, self- healing and self realization. True, in the long run this was a narcistic circling around himself. Nevertheless this time permitted a deep penetration into the reality of art and painting. In the early 1990s his curiosity about positions and relations became ever more passionate, which should extend the experience horizon drastically. He decided to place the picture of humans into the center of his painting. Eversince his pictures were populated by heads, chest pictures, portraits, half figures, complete characters and nudes. Illustrating humans in concentrated form was the framework and the topic for the summary. Until approximately 1996 he reflected, repeated and played with all possible and impossible parameters for the reality of art theory, art history, painting, photography, the picture itself, up to conceptions of the world.

Parallel to this rather formal work, which was based on knowledge and education, it developed maneuvers, which permitted to contact the forces and natures, which animate the before-mentioned Topoi, and to make them perceptive. In order to represent these aspects of painting (which are really hard to describe in words) more graphically, one could say that intensive feelings, all sorts of energies and forces, but also the strangest spirits were lured into his pictures.
The painting in the main topic -HUMAN BEING -, up to the sub topic "humans as personal area", originate from this phase.

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