Since the end of 1980s, figurative elements vanished from his work completely , and his style changed drastically to monochrom-like non-objetive. However it is not monochrome. However it is not monochrome like Malevich or Yves Klein in more exact viewing, for he has painted stratums of various colours one upon another, then at last around one dominant colour of the central area he has left a narrow edge of another colour on the surface of his painting. Furthermore these colours are almost warm colours, so together with their thick overlap texture they don't lose the expression of emotion and the function of association. Therefore his recent works can evoke vast spaces of the ground, plain, forest and sky, or the homecoming sentiments surrounded by light and darkness, wind and sound, and fogs. It is to be called as a visionary realism of this contemporary painter, who felt impossible to grasp reality through depicting visible, individual objects, invented to survey the fundamental of his identity as a Kurd by more subtle method. The poem "The Sun itself-Homage to Madhat Kakei" of Adnois. The best poet of contemporary Arab world, my old friend now living in Paris, suggest in details how painters should penetrate to invisible spheres in other to regard realities. Because people who was embarrassed by his recent style from their favour for his figurative works, is understanding its attraction gradually, while new audience feels implication of his works intuitively. I am now watching curiously the development of Kakei's art as well as the borderless expanse of receptions. Hario Ichiru, Japanese art critic