The story of Nausica Pastra's arrival at the mature creative systems in her Analogiques Series 1, 2, and 3 is extremely interesting. It reveals to what extent her oeuvre has always been informed by her personality.

Nausica's art is founded on an observation she made at an early stage: that everything in nature is governed by definite laws which should be reflected and continued in art. Since then she has strived to pinpoint the hidden principles. As a student she discovered, for instance, that the balance of the human body, in motion and stasis alike, is based upon two lines crossed like an X. She constructed her sculptures and drawings of the human figure according to this principle, and subsequently developed them to achieve a greater synthesis.

Her first major one-person show, at the Galerie Würthle in Vienna was a success. At the same time, however, it checked the young artist's work. She did not want to repeat what she had accomplished, but was afraid to give up the former investigations to which she owed her success. Though having ties to Vienna through her studio, home, and artistic and social contacts, Pastra decided in 1964 to abandon it all and go to Paris on her own.

There she worked intensely, constantly setting new problems for herself in order to seek their solutions. She realized that a three-dimensional mass and the fluid space around it were of utmost importance. It took several years before she gave up all forms of imitation of nature. Though entirely abstract, the shapes of her sculptures still had something organic about them and conveyed her emotional states. They were executed rapidly, smoothly, and seemed too aesthetically facile. The artist then made yet another radical decision: to give up what she had learned so far, all that was a result of practice or habit. she decided once again to start afresh.

Convinced that personal emotions were not interesting as the content of visual arts, she sought an objectivist art formula. Her lucidity, logic and simplicity predestined her reasoning and assertion. In the beginning there is always an idea; the art work puts it into practice. Why not start with the construction of a theory and a method? it should relate to our times, and represent them through, e.g., links with science. Thus one should follow the process used in all branches of science: analysis and synthesis. Yet a search for truth cannot be the goal since there is no single basic truth, but many individual truths. Hence all axioms should also be discarded. Once the principle of relativity is acknowledged, it becomes evident that relationships are essential. The adopted method does not lead to an axiom, but to discoveries which may be called truths only in the context of said method employed. Relativity is much more enriching than an acknowledegment of axiomatic truths.

Nausica Pastra began from the simplest constructions and geometric forms: the neutral circle and square. She dissected the square into a number of areas with segmented circles of differing radii, and chose a mathematically logical system of relationships: a form closed at the bottom and top by the sides of a square, with the remaining two sides delimited by segments of two different circles. The radius of one circle is one and a half times the length of the side of the square, and runs through its center so that the arc of the circle is contiguous to the side of the square. The radius of the other circle is equal to the length of the side of the square, and its center coincides with the center of the first circle. Thus the arc of the smaller circle is contiguous to the line dividing the square through its center into two equal rectangles. This leads to a form enclosed within two parallel straight lines and two parallel arcs.

Nausica called her basic form Synectron. This relationship, chosen from an infinite number of others, and one that may be justified logically, is analogous to the "golden mean," both from the viewpoint of harmony and possible applications. Considering the artist's investigations, the form was ideal. She elaborated her system of relationships in comparative sets of differing sizes.