I try to make images that have the immediate presence we take for granted in objects - a chair, a shoe, a book, a Judd - and compose them like sentences.

I try to make images that have the immediate presence we take for granted in objects - a chair, a shoe, a book, a Judd - and compose them like sentences.

[I] don't want people to see it [paintings] as a specific intention on my part. If somebody has that interest in these objects, of course they can see that, but from my own point of view, I'd rather stay as neutral as possible.

Whatever happens to the art world, art will go on regardless. As for obscurity, it looms just over the horizon beckoning us all. Why worry.

The identifying personal association with objects, which are not personal, is an important modern experience - our real association, the strands of our feelings about the objects that surround us. It's also because they are so familiar, we don't think of them as important in the world, but actually they are the world. We are living in a very material world.

If you close the door to the things you feel comfortable with, you will never discover the truth about yourself.

Sometimes we look at a work of art and we immediately think that it is German art, but with some we don't, it's not so obvious.