Almost every work of art is an analogy. When I make a representation of something, this too is an analogy to what exists; I make an effort to get a grip on the thing by depicting it. I prefer to steer clear of anything aesthetic, so as not to set obstacles in my own way and not to have the problem of people saying: 'Ah, yes, that's how he sees the world, that's his interpretation.'

All photographs are far more important than any painting.

The reason these paintings are destined for New York is not because I am disappointed about a lack of German interest, but because MoMA asked me, and because I consider it to be the best museum in the world.

Turning to the colour-classification methodology: The starting point are the four pure colours red, yellow, green and blue; their in-between shades and scales of brightness result in colour schemes containing 16, 64, 256 and 1,024 shades. More colours would be pointless because it wouldn't be possible to distinguish between them clearly.

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.

I've never found anything to be lacking in a blurry canvas. Quite the contrary: you can see many more things in it than in a sharply focused image. A landscape painted with exactness forces you to see a determined number of clearly differentiated trees, while in a blurry canvas you can perceive as many trees as you want. The painting is more open.

My landscapes are not only beautiful, or nostalgic, with a Romantic or classical suggestion of lost Paradises, but above all 'untruthful.' By 'untruthful,' I mean the glorifying way we look at Nature. Nature, which in all its forms is always against us, because it knows no meaning, no pity, no sympathy, because it knows nothing and is absolutely mindless, the total antithesis of ourselves.