The year 2003 marked an incisive break in the development of the works, a decision being made to create a clear conceptual view on the woodcuts. Whereas works up to then had resulted from fusing time-critical or mythological image-ideas with a specific procedure, it was now the method itself, which became the image-idea, as expressed in the concept of “Chiasma”. In general, the term Chiasma, a derivation from the Greek letter “Chi” (X), is defined as a dialectical figure of a reciprocity between unit and difference. The French phenomenologist Maurice Merleau-Ponty has considerably contributed to establishing this concept in philosophy and aesthetics. In its essence, the “Chiasma”-cycle refers back to the original unit of print and printing block. Like a distant echo, a kind of resonating “cantus firmus”, it is latently present. By means of a chiasmatic structure, i.e. the idea of interweaving and intersecting lines, the media conditions and circumstances of these woodcuts are reflected formally.