Between 1965 and 1967 Distéfano perfects his relief-paintings. He alternates between square canvasses – where volumes live alongside painting and the design of shapes (Triptych, Cavalcade) – and those whose boundaries define figures (Monday Man), although sometimes applied polychromy adds information about the characters’ features, which are not contained by the contours or the shapes of the modelling of the volumes (Everyday; Frogs on One’s Head). Colour becomes more intense, the palette gaudier. He applies colour on flat surfaces, in precise gradations and smooth planes that synthesise and open up the space. Space seems to be generated in the same way as figures do, sometimes violently (Struggle), menacingly (Police Chronicle, The Orchard Keeper’s Dog) or downright aggressively (Three Versions). The careful finish, the striking colour and its formal clarity are features that seem to come from advertising and that make these works reminiscent of Pop Art, although the caustic treatment of their subject links them to Shocker pop and new critical realism.