I never make studies from nature. They would get in the way. I make use of my mind.

As a painter today you have to work without that essential platform. But if one does not deceive oneself and accepts this lack of certainty, other things may come into play.

I work with nature, although in completely new terms.

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

For me nature is not landscape, but the dynamism of visual forces.

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.

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