I don't have a favorite cooking tool. In the kitchen, I always have my pencil and notebook in my hand. I cook more theoretically than I do practically. My job is creative, and in the kitchen, the biggest part of my creativity is theoretical. The pencil has a symbolic meaning for me. The type of person who carries a pencil around is the type of person who's open to change. Someone who walks around with a pen isn't; he's the opposite.

We didnt create dishes. We create preparations to create many dishes.

You may say, "Oh, no. You can't touch a traditional recipe." But we ask: why can't you? Back in 1350, a vinaigrette was a stew, so we ask, why not? This can be applied to any kind of cooking, and that's the shocking part of it. It kind of bends all the traditions. It's a good thing.

It’s very hard to be an innovator at the highest level in any discipline. For some chefs it’s merely about combining ingredients, but that’s something you can do with your eyes closed.

We need to think about what cooking is, what context it takes place in and what its relationship to the world of art is. If there were criticisms of my presence at Documenta, that's a good thing because it means we were doing something new. Your mission in creating something artistic is to produce something new and polemical.

I never cook at home. After 15 hours at work, I don't have much of a desire to cook at home. I do eat at home, but it's always something simple. Raw nuts. Almonds, hazelnuts, pine nuts--these are marvelous products. I am, however, the type that likes to go out to eat a lot. I never tire of it.

Innovation, being avant garde, is always polemic.