I Believe That He Knew More What

Based On Mixtures Of The Three Primary Colours, Along With Black And White, I Come Up With A Certain Number Of Possible Colours And, By Multiplying These By Two Or Four, I Obtain A Definite Number Of Colour Fields That I Multiply Yet Again By Two, Etc. But The Complete Realization Of This Project Demands A Great Deal Of Time And Work.

... Landscapes Or Still-lifes I Paint In Between The Abstract Works; They Constitute About One-tenth Of My Production. On The One Hand They Are Useful, Because I Like To Work From Nature - Although I Do Use A Photograph - Because I Think That Any Detail From Nature Has A Logic I Would Like To See In Abstraction As Well.

I Didn't Actually Know What The Protesters In The West Really Wanted. It Was Fantastic Here, So Much Freedom, And That Was What They Were Calling Musty, Middle-class, And Fascistic, A Bleak Period. Bleak Was What The Gdr Was, And It Alone Had Adopted, Almost Unchanged, Nazi Germany's Methods Of Intimidation And Ideas About Propaganda And The Use Of Force.

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

And Then The Work Bears A Strong Sense Of Leave-taking For Me Personally. It Ends The Work I Began In The 1960s (paintings From Black-and-white Photographs), With A Compressed Summation That Precludes Any Possible Continuation. And So It Is A Leave-taking From Thoughts And Feelings Of My Own On A Very Basic Level. Not That This Is A Deliberate Act, Of Course; It Is A Quasi-automatic Sequence Of Disintegration And Reformation Which I Can Perceive, As Always, Only In Retrospect.