During this period up to 2006, Alexander worked in England, at Independent Studios in Leicester and Birmingham. Provisionally called the English period—or we may say the “late” period—it is also a time of true artistic maturity and the full unfolding of his considerable potential as an artist.

“The watercolors created from September 1999 to 2005 are distinguished by their lyricism, filled with the soft diffusion of the painterly substance. Here and there appear spontaneous lines, brushstrokes, plastic accents. The energies—the forces of attraction and repulsion—to which he gives free expression contain, as a typological analogy, something from the painterly world of Wassily Kandinsky. In certain places, the artist seems to let the very unevenness, the grain of the paper on which the watercolor is laid, ‘speak’.”
(Prof. Dr. Chavdar Popov)

“In his watercolors, Alexander creates abstract interpretations of magical spaces and a distinctive set of symbols, managing to capture delicate expressiveness with just a few sparse lines. He explores his inner thoughts and longings through colors and forms, building compositions marked by timelessness and unique elegance.”
Elena Foschi, art critic, MAAK.

“…One of the most characteristic features of Alexander Kaprichev’s artistic temperament is the achieved balance between the spiritual content of the image and the refined plastic forms through which this content acquires visible expression.
… For him, every stroke, every line or patch of color—depending on the specific problem addressed in the work—is simultaneously a structural element of the artistic language and form, yet at the same time connected to a far broader spiritual field.”

“Alexander Kaprichev brilliantly demonstrates the endless expressive possibilities of non-figurative art. The elements of his visual language—the point, the line, the patch, the plane, the form, the color, the texture—in numerous, often unexpected combinations, create a complex and rich, densely polyphonic orchestration, building a pulsating, dynamic space, unceasing metamorphoses of ‘condensation’ and ‘dispersion’ of the painterly substance…”

The nature of the plastic sign is very important, as it carries significant meaning. The artist himself defines it as “a symbolic sign of the indivisibility of spirit and matter.”