Following the interior anaglyph approach of the past years, the artist aims to develop a new series of inherent perceptions of the same guiding concept of his artwork, that of conversion from emptiness to fullness, from negative to positive. The former religious approach is tackled differently, in a more abstract manner. This time the religious being is regarded as part of an organic whole, as the One that transcends the material realm, in a symbiotic conversion with its peers. The compositions, structured on different radiant layers, with constantly metamorphosing characters, are in a symbolic dialogue with the onlooker, as the latter is placed by the author himself in the centre. The volumetric scale of the anaglyph becomes extremely high, as the artist bears the same preference for hollow surfaces, circles, spheres and the golden proportion. Furthermore, the carver places an emphasis on projected light and, implicitly, on its shadow, as it becomes part of the composition as well. The shadow is conceptually foreseen by the artist and thus integrated within the artwork from both the shape and content point of view.