Maybe we didn't even have a chance. The message of American Pop Art was so powerful and so optimistic. But it was also very limited, and that led us to believe that we could somehow distance ourselves from it and communicate a different intention.

What counts isn't being able to do a thing, it's seeing what it is. Seeing is the decisive act, and ultimately it places the maker and the viewer on the same level.

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.

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.

... 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.

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.

Family photos, pictures of groups, those are truely wonderful. And they are just as good as the old masters, just as rich and just as beautifully composed (what does that mean anyway).