In 2019, I wondered what a painting would have to look like that was just for me. I wanted to break down boundaries between retina, perceptual space, and art space. With temperone and pigments, I set to work. Using compressed air, I sprayed the pigments mixed with Temperone 3 into drops on the painting as if they were falling into a well. Below the darker tones (originated winter and spring 2020 to 2022) and above the red drops (originated summer and autumn 2020 to 2022). Gradually I filled up the drops with hieroglyphs, which I had gained from the previous meditations. Atlas of Imagination Through a picture-seeking meditation, images arose in my mind's eye, which I drew on paper with charcoal pencils. These drawn images were then painted in oil painting on a primed image carrier. Thus a picture developed, consisting of many imaginations. In detail, there are about 1200 painted hieroglyphs. Some drawings are sculptural, others again only hints of incomplete forms. With what is, what is not is specified. It is as if the presence wants to say, here is also the absence, that which is not seen. The absent is not visible, but one can imagine the absent. Motivation After 73 years of artistic research, I have gained a new insight, you could almost say I have experienced an "enlightenment". "Realize an artistic idea every day, no matter with what material and medium", has been the guiding principle for my artistic practice since 1976. Thousands of works have been created in the meantime. The pandemic now prompted me to look inside myself and turn what I saw there outward. I explored my subconscious. The inner eye brought what I had seen to the outside. The creative force within me produced a mysterious sign language from a parallel world that lay dormant in my subconscious. A new term was born from this work: the "Inside out Art" in contrast to the "Outside in and out Art". In detail, I used parisian blue, chrome yellow dark, gold ochre Italian, milovi blue, cadmium yellow no. 1 citron, cobalt celin blue, cobalt blue turquoise light, permanent yellow light, opal red warm, alizarin crimson, permanent red, hostsperm pink transparent, scarlet fever, lapis lazuli sky blue, Leg black, Zinc white Kremer, Nepal yellow dark, Vermilion, Madder dark, real red deep, Ivoorzwart extra, Turquoise Ozo pigments. The painting materials are Swedish linseed oil, temperone, larch resin. The painting was realized in an old master painting technique, which Tiziano and other artists have already used from the Middle Ages to the early modern period.