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.

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.

Being bad. Discomfort with your body. Bad self image. All those things turn you into an artist. The same things that keep you from being in a proper marriage.

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.

The works have to look like they're confident. But they also have to look sort of troubled. It's this weird thing: "Does that look confident and troubled?" It's a bit like difficult poetry.

It's more this instinct to get in trouble, and then get myself out of trouble. That's what painting is for me.

A lot of what I do in my work is taking a thing and either washing it off, scraping it, covering it, scraping it and then washing it, turning it upside down. Making it somehow blind.