In numerous works from 1954, we see the figurative components being gradually reduced to signs. A more organic and slightly freer treatment of paint also appears. The emphasis shifts to the independent and contrasting use of Raveel's own plastic language. Shapes take on an independent character and give the surface a spatial power. The works often have a meditative character, as the image also reflects: we see a character with the back turned to us, seemingly lost in thought. We look over the figure's shoulder deeper into the painting and see the tree through the window. At the same time, the person and the tree seem to merge.