Painting Is Consequently An Almost Blind, Desperate

Almost Every Work Of Art Is An Analogy. When I Make A Representation Of Something, This Too Is An Analogy To What Exists; I Make An Effort To Get A Grip On The Thing By Depicting It. I Prefer To Steer Clear Of Anything Aesthetic, So As Not To Set Obstacles In My Own Way And Not To Have The Problem Of People Saying: 'ah, Yes, That's How He Sees The World, That's His Interpretation.'

The First Colour Charts Were Unsystematic. They Were Based Directly On Commercial Colour Samples. They Were Still Related To Pop Art. In The Canvases That Followed, The Colours Were Chosen Arbitrarily And Drawn By Chance. Then, 180 Tones Were Mixed According To A Given System And Drawn By Chance To Make Four Variations Of 180 Tones. But After That The Number 180 Seemed Too Arbitrary To Me, So I Developed A System Based On A Number Of Rigorously Defined Tones And Proportions.

When I Paint From A Photograph, Conscious Thinking Is Eliminated. I Don't Know What I Am Doing. My Work Is Far Closer To The Informel Than To Any Kind Of 'realism'. The Photograph Has An Abstraction Of Its Own, Which Is Not Easy To See Through.

I Choose Depending On The Way I Feel; Randomly, In Other Words. When I Haven't Done Anything For A Long Time, I Always Start Small, On Paper.

When I Make A Representation Of Something, This, Too, Is An Analogy To What Exists; I Make An Effort To Get A Grip On The Thing By Depicting It.