Turning to the colour-classification methodology: The starting point are the four pure colours red, yellow, green and blue; their in-between shades and scales of brightness result in colour schemes containing 16, 64, 256 and 1,024 shades. More colours would be pointless because it wouldn't be possible to distinguish between them clearly.

I started doing 'figures', then, one day, all of a sudden, I started doing abstraction. And then I started doing both. But it was never really a conscious decision. It was simply a question of desire. In fact, I really prefer making figurative work, but the figure is difficult. So to work around the difficulty I take a break and paint abstractly. Which I really like, by the way, because it allows me to make beautiful paintings.

I like everything that has no style: dictionaries, photographs, nature, myself and my paintings. (Because style is violent, and I am not violent.)

In 1981, I think, for the Kunsthalle in Düsseldorf. Before that I designed a mirror room for Kasper König's Westkunst show, but it was never built. All that exists is the design - four mirrors for one room.

I see the bomber pictures as an anti-war statement... which they aren't - at all. Pictures like that don't do anything to combat war. They only show one tiny aspect of the subject of war - maybe only my own childish feelings of fear and fascination with war and with weapons of that kind.

The year is always correct, also the month, only the day can be another. But that occurs to me only in the moment of writing it down.

Since there is no such thing as absolute rightness and truth, we always pursue the artificial, leading, human truth. We judge and make a truth that excludes other truths. Art plays a formative part in this manufacture of truth.