leitmotif of this series. All but the ‘Gyudjieff has no relation’ work, created under the direct (or intermediated) influence of the great oculist’s mysterious approaches, the rest of the series are persistent aspirations to reach to some regular completeness of harmony. The colour choices themselves are characterized by the above-mentioned philosophical conceptions – by the realization of minimizing self-purification. Almost unreadable textual reproductions are the inevitable obstacles of chromatic harmony. Thus, the texts are observed as the conflictual layers of the canvas. Senseless, but reminding of the content through their form. They are given the mission to distort the chromatic harmonic compatibility. The text as the wordiness of the image, nevertheless convinced to exist with it on the same level, flat, at last, by entering into symbiosis with the text-wordpress, text-symbol, text-image (calligraphy), become an imprint. The experiments of chromatic harmony are very fluctuating – from the contrast of white-brown (ENSO) to the textual dense blue – as new, as strange - opposing the neutral solutions of black-grey. The eternal conflict of the text-linear solutions and de-harmonisation of chromatic transitions becomes the agenda (beacon) of the creative, artistic activity.