Well, I don't believe there are subjects that can't be painted, but there are a lot of things that I personally can't paint.

They are specific places I have discovered here and there when I am on the road to take photos. I go especially to take photos.

Perhaps the choice is a negative one, in that I was trying to avoid everything that touched on well-known issues - or any issues at all, whether painterly, social or aesthetic. I tried to find nothing too explicit, hence all the banal subjects; and then, again, I tried to avoid letting the banal turn into my issue and my trademark. So it's all evasive action, in a way.

I go to the studio every day, but I dont paint every day. I love playing with my architectural models. I love making plans. I could spend my life arranging things.

To me, grey is the welcome and only possible equivalent for indifference, noncommitment, absence of opinion, absence of shape. But grey, like formlessness and the rest, can be real only as an idea, and so all I can do is create a colour nuance that means grey but is not it. The painting is then a mixture of grey as a fiction and grey as a visible, designated area of colour.

There is sorrow, but I hope one can see that it is sorrow for the people who died so young and so crazy, for nothing. I have respect for them, but also for their wishes, or for the power of their wishes. Because they tried to change the stupid things in the world.

The reason these paintings are destined for New York is not because I am disappointed about a lack of German interest, but because MoMA asked me, and because I consider it to be the best museum in the world.