I work with nature, although in completely new terms.

The eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift. One moment, there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events.

In my earlier paintings, I wanted the space between the picture plane and the spectator to be active.

I used to build up to sensation, accumulating tension until it released a perceptual experience

Focusing isn't just an optical activity; it is also a mental one.

For me nature is not landscape, but the dynamism of visual forces, an event rather than an appearance. These forces can only be tackled by treating color and form as ultimate identities, freeing them from all descriptive or functional roles.

Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind