It's just that some things more important for this and less important for that, and this is true regardless the style of the art.

When I told people that I was going to paint the big room magenta, many people thought that I was crazy.

You can see in my paintings, I've taken away the context, I've taken away the shadows, I've taken away expression, I've taken away the personal, and yet so much remains!

When I was a very young student I loved and admired the work of Sam Beckett, who is famously pessimistic, and whose writing is an extraordinary examination of emptiness. I wanted to be like Beckett. I don't have the same attitude toward the world, I'm naturally optimistic, and so of course I could never be like Beckett. You can't force yourself to become like someone you admire.

I wanted to make new works of very contemporary objects, which I thought was interesting because many of them are manufactured in China, but these objects are universal, they go across all languages, all cultures.

I decided I should use the most obvious colours - the basic colours with simple names: red, purple, yellow, pink. I don't distort the objects, I don't change the objects, I draw them exactly as they are. I do the opposite with the colours.

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.