From the 1990s onwards, Arabshahi's doubts about language being an adequate means of expression become ever more evident in his paintings. Ancient motifs, cuneiform and mathematical symbols all become less prevalent, leaving only the universal symbols, which begin to dominate his work.
 This mystical stage did not last long, but led to further developments, whereby Arabshahi's work began to take a more abstract path while retaining some impressionistic influences.