At the same time, he developed an increasing interest in the replicability of his works, which led him to an approach to lightness, evident both in concept and in materials: thin, light papers and essential strokes became distinctive marks of his style. Between 1982 and 1983, he also studied with a Japanese calligrapher in Milan.

The 1980s also marked the entry of new iconographic elements into his visual language. The first mountains began to appear in his works, foreshadowing a symbolism that would strengthen over time. In 1989, the magical squares emerged—enigmatic figures that intertwine art and conceptuality, becoming an essential element of his journey. During this period, in addition to wall painting, he continued to work as a graphic designer, further expanding his creative alphabet.