What counts most is finding new ways to get the world down in paint on my own terms.

We have seen so many exhibits in recent years where the exhibition design was aesthetically beautiful. In this case, if someone wants to get something out of the exhibit, they must neglect the aesthetics and look at my pictures.

Nowhere in my collection do I, say, have a Auguste Renoir painting. Because everybody knows that this is a good painter without me having to demonstrate it.

When Michael Werner saw a painting of mine, such as Die grosse Nacht im Eimer, which back then nobody wanted and everybody thought was ridiculous, he realized that this was the right provocation, that it represented the feeling of the times in the right way.

As a human being, I am a citizen, but as an artist, I am asocial.

No one who looks at my paintings can see whether a painting is upside down or not anymore. I've made or developed so many image models that some people have given up trying to keep track of me. But others have only one or two ways of doing things and are successful with that.

I don't like things that can be reproduced. Wood isn't important in itself but rather in the fact that objects made in it are unique, simple, unpretentious.