The smudging makes the paintings a bit more complete. When they're not blurred, so many details seem wrong, and the whole thing is wrong too. Then smudging can help make the painting invincible, surreal, more enigmatic - that's how easy it is.

I'm trying to paint a picture of what I have seen and what moved me, as well as I can. That's all.

The Atlas belongs to the Lenbachhaus in Munich - it's long since ceased to belong to me. Occasionally I run across it somewhere, and I think it's interesting because it looks different each time.

I believe that art has a kind of rightness, as in music, when we hear whether or not a note is false

Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean that the fascination of a photograph is not in its eccentric composition but in what it has to say: its information content. And, on the other hand, composition always also has its own fortuitous rightness.

Abstract pictures are fictive models, because they make visible a reality that we can neither see nor describe, but whose existence we can postulate.

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.