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.

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.

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 first colour charts were unsystematic. They were based directly on commercial colour samples. They were still related to Pop Art. In the canvases that followed, the colours were chosen arbitrarily and drawn by chance. Then, 180 tones were mixed according to a given system and drawn by chance to make four variations of 180 tones. But after that the number 180 seemed too arbitrary to me, so I developed a system based on a number of rigorously defined tones and proportions.

Now there are no priests or philosophers left, artists are the most important people in the world.

But it is also untrue that I have nothing specific in mind. As with my landscapes: I see countless landscapes, photograph barely 1 in 100,000, and paint barely 1 in 100 of those that I photograph. I am therefore seeking something quite specific; from this I conclude that I know what I want.

The grey paintings, for example, a painted grey surface, completely monochromatic - they come from a motivation, or result from a state, that was very negative. It has a lot to do with hopelessness, depression and such things. But it has to be turned on its head in the end, and has to come to a form where these paintings possess beauty. And in this case, it's not a carefree beauty, but rather a serious one.