Since the early 1970s, Maurer has been employing the forms and devices of mathematics and music, which give rise to exact, self-validating constructions. Based on the observation of simple facts, she creates flexible systems of great inherent variability. The principle behind the Displacements series came from the systematization of the magic cube’s construction: shifting fields marked by coloured lines on a raster web, on which eight quadrangles of eight different colours, rendered with diagonal hatching, “move” following a specific algorithm. The eight colours include four warm and four cold colours. As a result of the shifting, the quadrangles partially overlap, sometimes even all eight of them. The difference in colour, the warm-cold contrast, the tonal difference gives rise to unintentional spatial effects. Shifting the quadrangles changes the forms circumscribed by the fields, accompanied by a transformation of colour-relations, which has motivated the artist to focus on certain details. From 1976, she has started painting only specific fragments, the selection of which was first based on random numbers, later on aesthetic considerations. Maurer named the works created by enlarging details Quasi-images, referring to their “open structure”. “System figures are abstract and indifferent. They are rendered vivid, corporeal, experienceable, aesthetically valuable by the strategies of selecting details. The results of the selection are planar, seemingly three-dimensional planar, and actually three-dimensional image forms that I call Quasi-images, because they fail to comply with the requirements of image.” (D. Maurer.: On Relative Quasi-images) (written using texts from Judit Király)