I Have No Motif, Only Motivation. I

Cage Is Much More Disciplined. He Made Chance A Method And Used It In Constructive Ways; I Never Did That. Everything Here Is A Little More Chaotic.

I'm Trying To Paint A Picture Of What I Have Seen And What Moved Me, As Well As I Can. That's All.

Theory Has Nothing To Do With A Work Of Art. Pictures Which Are Interpretable, And Which Contain A Meaning, Are Bad Pictures. A Picture Presents Itself As The Unmanageable, The Illogical, The Meaningless.

I'm Never Really Sure What That Word Means, But However Inaccurately I Use It, 'classical' Was Always My Ideal, As Long As I Can Remember, And Something Of That Has Always Stayed With Me, To This Day. Of Course, There Were Difficulties, Because In Comparison To My Ideal, I Didn't Even Come Close.

Contact With Like-minded Painters - A Group Means A Great Deal To Me: Nothing Comes In Isolation. We Have Worked Out Our Ideas Largely By Talking Them Through. Shutting Myself Away In The Country, For Instance, Would Do Nothing For Me. One Depends On One's Surroundings. And So The Exchange With Other Artists - And Especially The Collaboration With Lueg And Polke - Matters A Lot To Me: It Is Part Of The Input That I Need.