Although in 1971 I had returned to drawing, simultaneously with the writing of Recontrapoder, I started a series in which I related the drawings I had made during my therapy with my pictorial sensations of nature (at the time I rented a house in Tigre). The painting lessons I gave at my studio forced me to see nature beyond the human chaos. Disciple of myself, I approached the setting of chaos in another way: first and foremost, returning to the plane and using the constituent elements of the pictorial language with a musical concept of tensions and vibrations, particularly focused on the counterpoint between color and drawing (the line closing itself in representation and opening itself in abstraction). This is how I approached chaos mythically, with a good symbolist dose (literary aspect) but conscious of visual counterpoints. Chaos approached in this way seemed to be related more with the original myths of universe and humankind than with the contemporary world. My series La Naturaleza y los Mitos (Nature and Myths) and Conquista y Violación de la Naturaleza (Conquest and Rape of Nature), on the conquest of America, both from 1975, are testimony of this period; as well as the other series I did in Paris between 1976 and 1980. In the latter ones, I stressed the symbolic aspect (with the consistent literary excess) that was already latent in my previous series. When I realized it, my self-criticism began again.