Picturing things, taking a view, is what makes us human; art is making sense and giving shape to that sense. It is like the religious search for God.

If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying - for however long it takes - until I think it has improved. And I don't demand an explanation from myself as to why this is so.

I didn't actually know what the protesters in the West really wanted. It was fantastic here, so much freedom, and that was what they were calling musty, middle-class, and fascistic, a bleak period. Bleak was what the GDR was, and it alone had adopted, almost unchanged, Nazi Germany's methods of intimidation and ideas about propaganda and the use of force.

I first came up with the idea for the colour-chart pictures back in 1966, and my preoccupation with the topic culminated in 1974 with a painting that consisted of 4,096 colour fields. Initially I was attracted by the typical Pop Art aestheticism of using standard colour-sample cards; I preferred the unartistic, tasteful and secular illustration of the different tones to the paintings of Albers, Bill, Calderara, Lohse, etc.

The desire to please is maligned, unfairly. There are many sides to it. First of all, pictures have to arouse interest before people will even look at them, and then they have to show something that holds that interst - and naturally they have to be presentable, just as a song has to be sung well, otherwise people run away. One mustn't underrate this quality, and I have always been delighted when my pieces have also appealed to the museum guards, the laymen.

Painting is traditional but for me that doesn't mean the academy. I felt a need to paint; I love painting. It was something natural - as is listening to music or playing an instrument for some people. For this reason I searched for themes of my era and my generation. Photography offered this, so I chose it as a medium for painting.

... landscapes or still-lifes I paint in between the abstract works; they constitute about one-tenth of my production. On the one hand they are useful, because I like to work from nature - although I do use a photograph - because I think that any detail from nature has a logic I would like to see in abstraction as well.