If we would be able to leave behind us the old three-dimensionalway of experiencing these art works, seeing them only with our senses, then we would experience, in the emptiness of space of these works, energetic, continuously altering, three- to four- dimensionalities of pure beauty, composed of light waves and created by particles.

It is not easy to distinguish this, because our senses are not used, on a daily level, to handle this. This is why it is not easy to understand it within the relativistic framework, because there are no habit norms.
The event of creating fluctuates, fromout matter-paint and a two - three dimensionality to a transparent existence in uninterrupted rhytmic light waves. 
Thus we can see that the material pictural values are usefull and indispensable when creating these works. 

Yet the true pictural value arises from the emptiness beyond the artwork.
The pictural, material energy evoked by the artist creates by its twofold character electric light waves of an extraordinary, powerfull, transparent delicateness and utmost beauty in the multidimensionality.
You could say that not, like in Henry Moore's approach, the contrast between the static images (fullness and emptiness) is so important, but to the contrary, what is really important is the emptiness and a dynamic time dimension of images with transparent forms and very high colour/light intensity.

Technically considered, it concerns a control of tensions, created by matter and colour/ light, that arise in the local space beyond the artwork by way of vibrations, a "technique" that consists of creative coordination of powers and space tensions which generate magnetic light waves, generated by the creation, and that manipulates gravity.

Didn´t nobel price winner Zeeman discover in 1904 that a magnet can influence the spectrum of a light force?