+ It starts when youll go shopping for art
supplies. You make decisions, and theyre
always the same, like the kind of brushes you
buy. And if youre forced to change something,
it gives an insecurity to the work that is very
helpful. It makes you find out what you really
+ There are two kinds of mistakes. The one mistake
is the 'bad' picture. Of course, I've made pictures
that I don't like or like less than others. The
other mistake is the positive mistake where I
say I can afford this mistake because this is
not the meaning of the picture. I like these mistakes
or these errors but with them I try to prove that
the subject or the concept of the picture is on
something else-in this case the mistakes are good.
+ I painted with acrylic paint, and the reason
why I went to oil was mainly because I didnt
control it. I was looking for the insecurity of
it. I mean, I might have found another reason
later, but at that moment, the reason was I was
looking for the insecurity.
+ I decided once that I shouldn't care about that
because I'm not this kind of artist, like some
Americans who have control over everything that
happens with their work and place it in special
collections. But I can't care about that, I cannot
control it. I feel I have to make one good picture
after another and this should be my work.
+ I have maybe two or three things on my mind,
and some might be impossible. Some might be in
contradiction to other orders, but I will still
+ This is the main lie, the main misunderstanding,
in art, that you can use it as something to pleasure
the eye as an organ. This idea is really a thing
that is around. Or the thought that you could
enjoy art, really directly enjoy it.
+ I still believe in the unpredictable, in an
artist who just has something and overwhelms you
with something that you didnt even ask for.
I believe that in the sort of wrong moment there
comes a time when someone who no one wanted, just
+ The artists view does not have to make
sense. At least not the sort of sense that can
be easily expressed in words. There is no underlying
conception or thematic arrangement. But to me,
the selection is utterly plausible.
+ The idea of 'failure' is connected with the
historical context. Art always seems to give answers
in the historical perspective; glorifying or criticizing
or simply advertising 'failure' is a strategy
to oppose such concepts by blocking them and by
not playing around with them and changing their
+ Once the painting does not say anything, this
does not mean that my general attitude towards
clarity has changed, only the result turns out
to be quite complex and no 'solution' in a folk-psychological
sense has taken place. But the intention is the
same and there is no reason to change it.