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

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

I couldn’t get near what I wanted through seeing, recognizing and recreating, so I stood the problem on its head. I started studying squares, rectangles, triangles and the sensations they give rise to It is untrue that my work depends on any literary impulse or has any illustrative intention. The marks on the canvas are sole and essential agents in a series of relationships which form the structure of the painting.

I work with nature, although in completely new terms.

I think this lack of a center has something to do with the loss of certainties that Christianity had to offer

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.

As the artist picks his way along, rejecting and accepting as he goes, certain patterns of enquiry emerge.