Weeks Go By, And I Dont Paint

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.

With A Brush You Have Control. The Paint Goes On The Brush And You Make The Mark. From Experience You Know Exactly What Will Happen. With The Squeegee You Lose Control.

Perhaps The Doors, Curtains, Surface Pictures, Panes Of Glass, Etc. Are Metaphors Of Despair, Prompted By The Dilemma That Our Sense Of Sight Causes Us To Apprehend Things, But At The Same Time Restricts And Partly Precludes Our Apprehension Of Reality.

Perhaps The Choice Is A Negative One, In That I Was Trying To Avoid Everything That Touched On Well-known Issues - Or Any Issues At All, Whether Painterly, Social Or Aesthetic. I Tried To Find Nothing Too Explicit, Hence All The Banal Subjects; And Then, Again, I Tried To Avoid Letting The Banal Turn Into My Issue And My Trademark. So It's All Evasive Action, In A Way.

What Attracted Me About My Mirrors Was The Idea Of Having Nothing Manipulated In Them. A Piece Of Bought Mirror. Just Hung There, Without Any Addition, To Operate Immediately And Directly. Even At The Risk Of Being Boring. Mere Demonstration. The Mirrors, And Even More The Panes Of Glass, Were Also Certainly Directed Against Duchamp, Against His Large Glass.