I'll point out some commonalities. You have entities composed of bizarre geometric abstractions as the background is made of. There is an interesting use of perspective, angles and depth. There's a sort of unifying balance in that first painting in regards to color and geometry (he has coyly balanced the straight, sharp masculine geometries in black and white against the curvy, circular feminine geometries - noting that in sacred geometry, there is this distinction in masculine/feminine geometry referring to linear/non-linear geometry. This dichotomy carries on throughout the other paintings as well). The variations on a theme are striking. There is great attention to detail - often in scenes that we can't fully understand why they exist, other than that somebody decided to juxtapose all the elements as such. His style is as if hyperspace met Candyland and had a baby.
"Science without religion is lame. Religion without science is blind" - Albert Einstein
"The Mighty One appears, the horizon shines. Atum appears on the smell of his censing, the Sunshine- god has risen in the sky, the Mansion of the pyramidion is in joy and all its inmates are assembled, a voice calls out within the shrine, shouting reverberates around the Netherworld." - Egyptian Book of the Dead
"Man fears time, but time fears the Pyramids" - 9th century Arab proverb