In the mid 1960s Kovács established a new paradigm in fine arts: namely, the visual definition of qualified countable units. Kovács’ vision is deductive and expansive, using the logic of János Bolyai’s geometry as the great Renaissance masters like Piero della Francesca and Leon Battista Alberti did with the postulates of Euclid. His art was inspired by Bolyai’s thoughts, which emancipated mathematics from the description of nature, saying mathematics and the mathematics of visual space can also be autonomous.
Between 1964 and 1970 Attila Kovács created a unique artistic language he named “Frame of Reference” or “Transmuting Plasticity”, where he built his own system of non-Euclidean sequential geometric abstraction along mathematical coordinates delineated by the three spatial axes x, y and z, and the time axis t (spacetime). His works are usually two-dimensional, other times they start out in one plane then they build up following the mathematically fixed rhythm of sequential movement and spring into 3D, forming a kind of geometric frieze on the wall.