Between 1987 and 1988 he even decided to abandon teaching, which he had undertaken for some years with great enthusiasm, in order to better dedicate himself to his artistic research and to the running of the gallery, which had now moved to the mainland, in Mestre, with the intent of facilitating the car journeys from one city to another in search of artists and collectors with whom he planned new exhibitions. The new premises were significantly inaugurated with a review of famous masters, and this exhibition was followed by a show of  works by Tancredi, who died in 1984 .  Yet, since he also wished to pursue in a more constant manner the researches that he had undertaken, he chose to definitively move to his city of origin, Mariano, he had a modernistic villa built amongst the vineyards, in the midst of the fertile Friuli countryside, thus having a vast studio in which to work and encouraging his growing children to enjoy daily contact with the beauties of nature. Chinese finally felt free to dedicate himself completely to painting, which would lead him to experiment even with industrial materials, to use ‘precious powders’, ‘golds floating on overseas transparencies’, as Zigaina notes in his introduction, written for the artist in 1991. During this period he painted various subjects at times linked with particular experiences, yet defining a line of research towards a fantastic re-creation of reality in which to borrow aspects and moments of intense emotionality.  From the Venetian ambience come memories and perceptions found in the paintings from that period, relating to the ‘byzantine theories’ and the ‘cathedrals of the lagoon’.

When the Gulf War broke out in 1991, he was so moved by this terrible tragedy that he painted a series of paintings with images of opposing signs, dramatically exacerbating the contrast between the delicate hues of serene landscapes and dark disturbing shapes.