In my work, we're not looking at an icon, we're not looking at a sign, we're not looking at a representation. We're looking at something. I do have this feeling of trust that people can read it for themselves.

All accidents and experiments, and discoveries, are what my work is about. The problem that I have as an artist is being way too critical.

I've never read a book on shape. I've read books on gesture; I've read tons of books on color, surface, field, ground, representation, abstraction. But I've never read a book on what a shape is.

In my work, we're not looking at an icon, we're not looking at a sign, we're not looking at a representation. We're looking at something. I do have this feeling of trust that people can read it for themselves.

You can make a beautiful thing, but there's no problem in it. I like the idea of doing a thing, wrecking a thing, questioning a thing to the point where you have pushed it to the edge, and then recuperating it.

I'm in this process of trying to create a free space. Like an open field, where figure and ground are in very ambivalent, complex relationships. On top of that, I also wanted to see if I could try to blurt something out, or make something completely immediate, that ends up fitting perfectly.

I made silk screens of my drawings. I could add a drawing that was made with a machine or digitally to a drawing that was made by hand. What I love is that you can't tell how they're made. For some reason, fooling the eye really excites me.