I never worked at painting as if it were a job; it was always out of interest or for fun, a desire to try something.

I began in 1976, with small abstract paintings that allowed me to do what I had never let myself do: put something down at random. And then, of course, I realized that it never can be random. It was all a way of opening a door for me. If I don't know what's coming - that is, if I have no hard-and-fast image, as I have with a photographic original - then arbitrary choice and chance play an important part.

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.

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.

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.

These pictures possibly give rise to questions of political content or historical truth. Neither interests me in this instance. And although even my motivation for painting them is probably of no significance, I am trying to put a name to it here, as an articulation, parallel to the pictures, as it were, of my disquiet and of my opinion.

I don't create blurs. Blurring is not the most important thing; nor is it an identity tag for my pictures.