When I paint from a photograph, conscious thinking is eliminated. I don't know what I am doing. My work is far closer to the Informel than to any kind of 'realism'. The photograph has an abstraction of its own, which is not easy to see through.

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.

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.

All photographs are far more important than any painting.

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.

I believe I am looking for rightness. My work has so much to do with reality that I wanted to have a corresponding rightness. That excludes painting in imitation. In nature everything is always right: the structure is right, the proportions are good, the colours fit the forms. If you imitate that in painting, it becomes false.

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.