In this sense they also constitute a deviation from the circular system of analysis, synthesis, etc., which is interpretative-it explains which relationships will realize the passage from one to another stage. These are formulated as morphological entities-that is, they summarize the end point, the final form of these relationships and alone are able to determine the kind of relationships found in each stage. Hence, Rhythms and Relationships are also the most intensive abstractions seen in terms of the preceding analyses-abstractions. These are the analyses of the relationships of the initial, specific geometric concepts, while in Rhythms and Relationships there is an analysis of these relationships in terms of their relationships- independent of the geometric concepts from which they were originally derived. This is easier to understand if we observe that in this work the analyses still have a descriptive character because they constitute drawn "plans" which aspire to the analytical image of the organization of the methods of analysis in each of the relationships. Therefore, Rhythms and Relationships are the sections of these plans-that is their terse formulation, marginally condensed.

But Pastra's program for realizing this in sculpture, particularly in each period of Rhythms and Relationships, did not always chronologically correspond to the rest of the sculptural presentation of the analyses and the syntheses of the corresponding period. By the early eighties, the delay in the sculptural realization of Rhythms and Relationships becomes obvious. While the Rhythms and Relationships drawing studies, from Analogiques 1 (19681976), were first published in 1976¹¹ and then again in 1979¹³, he corresponding sculptures (Triptych 1,1988) were exhibited and published for the first time in the catalog for the Art Symposium exhibition in Crete (1988), in Saint-Etienne and Bologna (1992) and in Paris (1993) at the Dialogues exhibition. Furthermore, the Rhythms and Relationships sculptures from the series Analngiqijes 2 (1979-1982) and the series Analogiques 3 (1982-1984) were displayed as reliefs and sculptures in 1991 at her solo exhibition at Gallery 7 in Athens, in Saint-Efienne and Bologna (1992), as well as the Artforum Gallery in Thessaloniki (1994).

This is the situation one finds in the successive Rhythms and Relationships, where the constant and intensive morphological differentiation, through the analysis of their origin (the initial analysis of the relationships of the square and the circle), produces a system of work that does not develop in a linear and mechanical way (meaning one directly referring to the ideology inherent in an unlimited, uniform development and the constant repetition of the same system), but on the contrary is formed by interruptions, by ruptures within it. This is confirmed during the initial deviation of Rhythms and Relationships from the analyses and the syntheses they were derived from, such as when they were established as the sections of the analyses-plans in Analogiques 1 in the 1976 catalog. However, it was also confirmed later, when the study of these relationships themselves, as her exclusive, specific subject matter of the work, led to the involvement of the space in which these relationships were elaborated, as can be seen in recent exhibitions. Thus arose a qualitative change, or "threshold/limit" --to use the artist's words -- or a limit/destruction of the system.

In the 1994 exhibition at Gallery 7, and at Mylos Art Gallery (1995), the Rhythms and Relationships made their mark as studies of relationships to the relationships as well as to the space within which they were set up. The artist herself announced this in 1991 (in the Gallery 7 catalog) when she observed that "the study of the relationships to the relationships and consequently 'the artist to the relationships' is the 'Great Objective' of the artist's work," and that "abstraction is the quest for the relationship. The analysis is the preliminary stage, the antechamber to relationships and abstraction." There she defined, and established, the limit/condition of analysis, which itself is constantly shifted to the background. In the catalog for the Saint-Efienne and Bologna exhibitions, in 1992, Jean-Pierre Maury noted that Nausica Pastra has "dedicated herself to the most radical realism, the realism of structures and the analysis of these structures with the assistance of a method."