With his digital revisions HRW achieves the decisive further step: he brings the subject matter, the 'former' narrative to the point and reduces the effect to that which essentially interests him: the light and its distribution. HRW achieves an effect similar to that of blinking: only the formal but now strongly colored essences are still bundled in their arrangement and distribution in a manner that the light direction of the older work is clearly recognizable, but purged of the playful elements and subjected to a certain democratization of size distribution. It is extraordinarily exciting to trace the reduction according to the artist's choice of weighting. The 'color heights' remain, and now certain lights emerge from the former, more representative pictorial idea to transport the thematic content of the motif much more strongly than the original work. The underlying works 'Mohnd' and 'Mandelblüte im Dadestal' are in themselves strongly reduced, in their futuristic style both have a playful lightness, a quietly suggestive reference to abstraction and are distantly reminiscent of early paintings by Kandinsky or Gabriele Münter.
The digital reworking results in a kaleidoscope-like balance of color distribution that breaks up all the previous elements but does not completely mix them. Deconstruction without chaos but with realignment of weights in the composition. Perspective is the one power that is no longer conveyed in the new formal language, and which now finds a corresponding equivalent in the rhythm of the color shapes.