Gradually the ability to adhere freely and independently to a colouristic visual impression and a given mood and convert it into a lyrical abstraction from nature becomes more and more distinct and is clearly manifest in paintings such as Japanese cherry tree in the garden, Amalienborg Palace, 1990, and Spring I. Neither of these pictures reveals any drawing as such. The shapes, foreground and background are formed purely optically by the clash of colours. With their jubilant light effects and coloration each of these paintings pay special tribute to the Danish countryside and the coming of spring.