The new pictural order
by Aquila 

If we would be able to leave behind us the old three-dimensional  way of experiencing these  art works, seeing them only with our senses, then we would experience, in the emptiness of space of these works,  energetic, continuously altering, three- to four- dimensionalities of pure beauty, composed of light waves and created by particles.
It is not easy to distinguish this, because our senses are not used, on a daily level, to handle this. This is why it is not easy to understand this within the relativistic framework, because there are no habit norms.
The event of creating fluctuates, fromout matter - paint, fromout a two - three dimensionality, to a transparent existence, in uninterrupted, rhytmic light waves.
Thus we can see that the pictural values are  usefull, and indispensable when creating these works. Yet the use arises from the emptiness. 
The pictural, material energy, evoked by the artist, creates, by its twofold character, electric light waves of an extraordinary powerfull, transparent delicateness and utmost beauty in the multidimensionality in the local space of the material space.
You could say that not the contrast between static images (fullness  and emptiness)  is so important, just like in the case of Henry Moore, but on the contrary, what really is important in the emtptiness, is a dynamic time timension of images with transparent forms and very high colour - light intensity.
Technically considered, it concerns a control of tensions, by matter and colour - light, that arises in the local space of the painting by vibrations, a "technique" that conists of creative coordination of powers and space tensions which generate magnetic light waves, generated by the creation, which manipulate gravity.
Didn´t nobel price winner Zeeman discover in 1904 that a magnet can influence the spectrum of a light force?