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.

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.

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

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.

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

... I felt like a new man; but I was disappointed with the photographic documentation because I still saw always the old self.

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.