I want to get to the stage where nobody can tell how a picture of mine is done. What's the point of that? Simply that I want nothing but emotion given off by it.
The ideal trademark is one that is pushed to its utmost limits in terms of abstraction and ambiguity, yet is still readable.
The most important element in a picture cannot be defined.
If one draws things in a manner which provides only the barest clue to their meaning, the viewer is forced to fill in the gaps by using his own imagination. He is compelled to participate in the creative act, which I consider very important.
What would please me most is to make photographs as incomprehensible as life.
No one who looks at my paintings can see whether a painting is upside down or not anymore. I've made or developed so many image models that some people have given up trying to keep track of me. But others have only one or two ways of doing things and are successful with that.
Art depends upon the inexactitude of sight.
There are very complex shapes which would be the same from close by and far away.
I'm mostly drawn to narratives that are difficult for me to visualize.
You can't tell by looking at a film-clip whether it is a drama or a documentary without knowing how it was produced.
Everytime I look at a zebra, I can't figure out whether it's black with white stripes or white with black stripes, and that frustrates me.
My photography is very European. In America, I always get the sense that people are comforted by understanding what they're looking at. Photography's quite clear here [in the U.S.], it's very well-explained. My photography's perhaps not as well-explained.
It’s always more intriguing to imagine what’s happening, as opposed to seeing everything, because then you can use your imagination. I always wanted to be at a distance.
The smudging makes the paintings a bit more complete. When they're not blurred, so many details seem wrong, and the whole thing is wrong too. Then smudging can help make the painting invincible, surreal, more enigmatic - that's how easy it is.
Shadows which you see with difficulty, and whose boundaries you cannot define... these you should not represent as finished or sharply defined, for the result would be that your work would seem wooden.
