It is beyond doubt that for myself, for the real ’Ego’, the flowing and whirling world of forms that evolve in my pictures, time and again dissolve the torments, and agonies. In seeking for the ’clear source’, the ancient energies and forms lead me to what purification is possible. I needed and still need such a prophetic power, which on the one hand can create forms for monumental, irrational tensions, and on the other hand which can transform these purely formal elements so that their ’visibility’ is almost a connection between the sensibility of the beholder and the other world of the picture. I shall continue to regard nature as a ’grounded canvas’ on which I can mete out the material of my ’Ego’. This is the reason why there is no frame nor any irrevocably closed composition in my pictures. The rhythm entered upon may be prolonged. This is how my recollection and a world in conformity with the needs of another subjective ’Ego’ comes together for me.
Space and time
By the end of the series I wanted to achieve the abstraction in the European sense on which western science has been built. The comparison of the two different worlds, the two different approaches meant exciting artistic solutions and certainly opened up new paths to me. First of all I speak about spaces having a special origin and nature. The spaces in painting have a dual meaning. On the one hand, the picture is an individual object, one parcel of space, as it were; on the other hand it is the world of forms superimposed on the object (painting). The spaces formed by my imagination ’speak’ to the viewer only when certain conditions are met. They are the emotional responses arising also in the viewer, so they are not the primary consequence of objective contemplation. The viewer is often able only to make sense of them if he is also moves in front of the picture and, at the same time, tries to move back in time, passing through the spatial plane which symbolises the ephemeral nature of man.