Art is the highest form of hope.

I choose depending on the way I feel; randomly, in other words. When I haven't done anything for a long time, I always start small, on paper.

Theory has nothing to do with a work of art. Pictures which are interpretable, and which contain a meaning, are bad pictures. A picture presents itself as the Unmanageable, the Illogical, the Meaningless. It demonstrates the endless multiplicity of aspects; it takes away our certainty, because it deprives a thing of its meaning and its name. It shows us the thing in all the manifold significance and infinite variety that preclude the emergence of any single meaning and view.

I don't believe in the reality of painting, so I use different styles like clothes: it's a way to disguise myself.

The painter sees the semblance of things and repeats it. That is, without fabricating the things himself, he fabricates their semblance; and, if that no longer recalls any object, this artificially produced semblance functions only because it is scrutinized for likeness to a familiar - that is, object-related - semblance.

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 was a student, and as such you generally rely on prior models of how to make art, but these were not satisfying. Then I discovered in photos what had been missing in paintings; namely that they make a terrific variety of statements and have great substance. That is what I wanted to convey to paintings and apply to it.