As a matter of fact, it was only through the dealer Fred Jahn that I succeeded in overcoming my reservation about the works on paper and exhibiting them. Added to this, of course, was the fact that after ten years I could see the watercolours in a different light, and in conjunction with pictures painted afterwards, they had at least become more comprehensible to me.

To talk about paintings is not only difficult but perhaps pointless too. You can only express in words what words are capable of expressing-- what language can communicate. Painting has nothing to do with that.

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

Art is the highest form of hope.

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.

Painting pictures is simply the official, the daily work, the profession, and in the case of the watercolours I can sooner afford to follow my mood, my spirits.

I wanted to make it as anonymous as a photo. But it was perhaps also the wish for perfection, the unapproachable, which then means loss of immediacy. Something is missing then, though; that is why I gave that up.