The works created since then appear almost abstract and tachistic at first glance, with their vibrant and impasto brushwork and their palette pulsating with glowing fireworks. In contrast to the works of the Tachists and Informalists, however, the pictures are always based on concrete, objective meanings and statements with which the painter strives to illustrate problems of time and transience, the eternal metamorphosis of nature and life, as well as his humane message to all fellow human beings is. To this day, he remains the only painter in the world who painted the important event of reunification that deeply moved him before the fall of the Berlin Wall. The time-critical images with a decidedly crypto-realistic character also include the paraphrases on the topic of glasnost, in which the visionary Davood foresaw the emerging changes in the East even before the collapse there.

I have described this novel and independent concept, the most extraordinary development in art history to date, with the term “cryptorealism”, as a painting of the encrypted expression underlying motifs from the wide range between existential criticism of time and humanism that encompasses humanity, from Western and ancient oriental culture to to visionary outlooks into the future. As a painterly method of visually illustrating life's puzzles and offering solutions, he created “cryptrealism” for his depictions, a globally recognized art movement in art history. He was the first painter to succeed in merging the two poles of contemporary art, realism and abstraction, traditional and contemporary perspectives, into a new, independent whole.