the 'total overpaintings' developed... through incessant reworking. The original motif peeped through the edges. Gradually it vanished completely.

Only the four corners of the background remained. It was terribly difficult to fix my eyes on all of them at the same time. My experience was that the most difficult thing of all in art is painting in all four corners at the same time.

In 1968 I frequently would sit in a photo booth and practice self mirror images which I then documented photographically. Curious types would always open the curtains and chase me away. Today I work with a photographer.

Only an 'almost,' a 'nearly,' is possible.

I could only relax when there was just one tiny white last spot left. I could see more clearly. I could grasp the shape of the picture again... The pictures are alive because of the white remnant, the almost concealment.

Sometimes I had to force the overpainting of three corners almost without any feeling for shape, almost without inspiration, only to find my way back, to get out of this hell.

The principles of my works... are the extinction of expression, permanent covering and contemplative tranquillity... My ideal is the completely dark picture, full of some overwhelming silence.