A new stage of his artistic trajectory emerged around 1971 which was closely related with his philosophy studies of the time: the tension between being and void. This latter element had always appealed to him, from his first experience in the group exhibition organised by Òmnium Cultural in Paris in 1966, where Pericot had included a hole in one of his works.
The concept of space as void or absence is present in Pericot’s entire oeuvre. The hole conditioned by form and in relation to its context ceases to be a passive absence and emerges as an active need. The void becomes objectivised, contextualised and acquires a meaning.
These three elements (form, colour and void), when treated equally, made it possible to begin a series of works based on mathematical combinations. The structure he used is based on a system of permutations, inversions and substitutions that eliminate the fixed viewpoint from the work and encourage the observer to discover new approaches.
The mobility of the spectator is an essential requirement for the perceptive mixture of colour and shade, relief and flat surface, absence and presence.