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At first I had some idea that the absence of color made the work more physical. Early on I was very involved with the notion of the painting as an object and tended to attack that idea from different directions.

I started doing sculpture in 1959. I had no commissions then. They were painted, similar in style to the paintings... At a certain point, I decided I didn't want an edge between two colors, I wanted color differences in literal space.

You know I was curious - I was interested in all kinds of mystery or deeper meanings in the paintings because I myself have not analyzed why they have turned out like this or like that.

Every time I started painting it was like a new experience, but they all came out the same.

Simultaneous contrast is not just a curious optical phenomenon - it is the very heart of painting.

Painting is an illusion, a piece of magic, so what you see is not what you see.

It became clear to me that I had to push it toward a more representational way of drawing.

I painted the picture, and in the colors the rhythm of the music quivers. I painted the colors I saw.

The artist must ask you to think of the world in a different way, and sometimes it's a more abstract way; sometimes it's a completely different kind of colouring.