For me nature is not landscape, but the dynamism of visual forces, an event rather than an appearance. These forces can only be tackled by treating color and form as ultimate identities, freeing them from all descriptive or functional roles.

In general, my paintings are multifocal. You can't call it unfocused space, but not being fixed to a single focus is very much of our time.

As the artist picks his way along, rejecting and accepting as he goes, certain patterns of enquiry emerge.

I work with nature, although in completely new terms.

The actual basis of colour is instability. Once you accept that in lieu of something which is stable, which is form, you are dealing with something which is unstable in its basic character, you begin to get a way of dealing with it.

An artist's early work is inevitably made up of a mixture of tendencies and interests, some of which are compatible and some of which are in conflict

An artist's failures are as valuable as his successes: by misjudging one thing he conforms something else, even if at the time he does not know what that something else is.

For me nature is not landscape, but the dynamism of visual forces.

The eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift. One moment, there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events.

I think this lack of a center has something to do with the loss of certainties that Christianity had to offer

It seems the deeper, truer personality of the artist only emerges in the making of decisions... in refusing and accepting, changing and revising.

As a painter today you have to work without that essential platform. But if one does not deceive oneself and accepts this lack of certainty, other things may come into play.

It is important that the painting can be inhabited, so that the mind's eye, or the eye's mind, can move about it credibly.

In my earlier paintings, I wanted the space between the picture plane and the spectator to be active.