I believe that art has a kind of rightness, as in music, when we hear whether or not a note is 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.

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.

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.'

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.

A student researching into my work has actually traced the newspapers and magazines where I found theses images and has found out that many of them illustrate a collection of gruesome stories, murders and suicides which contrast with the images used. There is a contrast between the message carried by the text and that suppressed by the illustration.

I don't create blurs. Blurring is not the most important thing; nor is it an identity tag for my pictures.