If we're afraid to stand in our own skin with those we work with, then how do we lead those who have no voice at all?
I do work a lot. I mean, most of my income, I would say, comes from live performances. And then you've got publishing, you've got record royalties.
I'm interested in the space between the viewer and the surface of the painting - the forms and the way they work in their surroundings. I'm interested in how they react to a room.
All my work comes from perceiving. I kept seeing things that were brooding in me. I'm not a geometric artist.
What an artist learns matters little. What he himself discovers has a real worth for him, and gives him the necessary incitement to work.
The unity in any painter's work arises from the fact that a person, brought to a desperate situation, will behave in a certain way... style.
Without any assistance whatever, I founded a school in Weimar in 10 years. Only I could perform certain works with the scanty means that I dared not ask anyone else to work with.
It was all so far away - there was quiet and an untouched feel to the country and I could work as I pleased.
I'm an artist. And usually when I tell people I'm an artist, they just look at me and say, 'Do you paint?' or 'What kind of medium do you work in?'
My work begun to spread out. And calls to the universities begun to take me out of my garden, you know.
It makes no difference whether a work is naturalistic or abstract; every visual expression follows the same fundamental laws.
German and English firms operate internationally, while French firms do not. The only place where they all have work is in China. Anybody can sell himself in China!
I do so much travelling in my work that my suitcase is always packed, with my passport ready. I rarely unpack, as I am constantly on the move.
Everyone is of course free to interpret the work in his own way. I think seeing a picture is one thing and interpreting it is another.
I decided that if my work contained what I could identify as a likeness to other work, I would remove it.'
In fact, since no one's been interested in my work, I took the responsibility recently to invest in my own work, so I'm producing a concert that was done at the Vision Festival in May.
If I physically made every work myself, I would get only one or two paintings done a year, if that.
Earlier generations of stars in the galaxy could well have had planets. But really, there was only hydrogen and helium to work with, so they'd all be gas giants and not small, rocky planets.
I'm not a frustrated concert composer, and the concert pieces I've done have been a small part of my work. What I've sought there is instruction, variation from the demands of film and relief from its restrictions.
I have about two or three people, we don't have an office, we don't even have a dedicated phone line. We do it out of our own homes, and we make it work.
I've always wanted to work for Walt Disney. That's what I thought I was going to do when I grew up.
