In 1981, I Think, For The Kunsthalle

As Far As The Surface Is Concerned - Oil On Canvas, Conventionally Applied - My Pictures Have Little To Do With The Original Photograph. They Are Totally Painting (whatever That May Mean). On The Other Hand, They Are So Like The Photograph That The Thing That Distinguished The Photograph From All Other Pictures Remains Intact.

Now There Are No Priests Or Philosophers Left, Artists Are The Most Important People In The World.

The Smudging Makes The Paintings A Bit More Complete. When They're Not Blurred, So Many Details Seem Wrong, And The Whole Thing Is Wrong Too. Then Smudging Can Help Make The Painting Invincible, Surreal, More Enigmatic - That's How Easy It Is.

The Truth... When They Have A Similar Structure To And Are Organized In As Truthful A Way As Nature. When I Look Out Of The Window, Then Truth For Me Is The Way Nature Shows Itself In Its Various Tones, Colours And Proportions. That's A Truth And Has Its Own Correctness. This Little Slice Of Nature, And In Fact Any Given Piece Of Nature, Represents To Me An Ongoing Challenge, And Is A Model For My Paintings.

Painting Is The Making Of An Analogy For Something Non-visual And Incomprehensible - Giving It Form And Bringing It Within Reach. And That Is Why Good Paintings Are Incomprehensible. Creating The Incomprehensible Has Absolutely Nothing To Do With Turning Out Any Old Bunkum, Because Bunkum Is Always Comprehensible.