My Work Has So Much To Do

The Grey Paintings, For Example, A Painted Grey Surface, Completely Monochromatic - They Come From A Motivation, Or Result From A State, That Was Very Negative. It Has A Lot To Do With Hopelessness, Depression And Such Things. But It Has To Be Turned On Its Head In The End, And Has To Come To A Form Where These Paintings Possess Beauty. And In This Case, It's Not A Carefree Beauty, But Rather A Serious One.

Contact With Like-minded Painters - A Group Means A Great Deal To Me: Nothing Comes In Isolation. We Have Worked Out Our Ideas Largely By Talking Them Through. Shutting Myself Away In The Country, For Instance, Would Do Nothing For Me. One Depends On One's Surroundings. And So The Exchange With Other Artists - And Especially The Collaboration With Lueg And Polke - Matters A Lot To Me: It Is Part Of The Input That I Need.

When I Look Back On The Townscapes Now, They Do Seem To Me To Recall Certain Images Of The Destruction Of Dresden During The War.

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.

Weeks Go By, And I Dont Paint Until Finally I Cant Stand It Any Longer. I Get Fed Up. I Almost Dont Want To Talk About It, Because I Dont Want To Become Self-conscious About It, But Perhaps I Create These Little Crises As A Kind Of A Secret Strategy To Push Myself.