My Paintings Are Wiser Than I Am.

If I Don't Know What's Coming - That Is, If I Have No Hard-and-fast Image, As I Have With A Photographic Original - Then Arbitrary Choice And Chance Play An Important Part.

I Believe I Am Looking For Rightness. My Work Has So Much To Do With Reality That I Wanted To Have A Corresponding Rightness. That Excludes Painting In Imitation. In Nature Everything Is Always Right: The Structure Is Right, The Proportions Are Good, The Colours Fit The Forms. If You Imitate That In Painting, It Becomes False.

The Year Is Always Correct, Also The Month, Only The Day Can Be Another. But That Occurs To Me Only In The Moment Of Writing It Down.

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.

It Can Be A Work By Mondrian, A Piece Of Music By Schönberg Or Mozart, A Painting By Leonardo, Barnett Newman Or Also Jackson Pollock. That's Beautiful To Me. But Also Nature. A Person Can Be Beautiful As Well. And Beauty Is Also Defined As 'untouched'. Indeed, That's An Ideal: That We Humans Are Untouched And Therefore Beautiful.