The present painter is concerned not with his own feelings or with the mystery of his own personality but with the penetration into the world mystery. His imagination is therefore attempting to dig into metaphysical secrets. To that extend his art is concerned with the sublime. It is a religious art which through symbols will catch the basic truth of life which is its sense of tragedy.

The painter has the Universe in his mind and hands.

My whole intention in painting is to make a thing poetical; but not poetical in a literary sense. I want something that evokes mood, a background, a stage set for certain characters that are playing certain parts. When I paint I do not consider myself an abstractionist in the sense that I'm trying to create beautiful forms that fit together like a puzzle. The things in my painting are intended to strike something that is an emotional involvement – that has to do with the human personality and all the mysteries of life, not simply colors or abstract balances. To me, it's all reality.

The artist works by locating the world in himself

No one in art has yet penetrated as far [as Dostoyevsky into the mystical realms of the soul, towards the metaphysical, the subconsciousness, viewing the external reality of the world as merely a sign, a symbol of the spiritual and metaphysical.

Nothing contains a greater metaphysical mystery than the fact that a single thing presents two separate sides if you change the direction of your eyes, that a single phenomenon has a hidden "secret side." A long time ago, when I was a child, I would look at a framed painting hanging on the wall and become obsessed with the thought: What kind of world is secretly hidden behind that framed landscape? I often removed the oil painting to peer at its back. This question I had as a child remains for me, an adult today, as an unsolvable mystery.

"What genuine painters do is to reveal the underlying psychological and spiritual conditions of their relationship to their world; thus in the works of a great painter we have a reflection of the emotional and spiritual condition of human beings in that period of history. If you wish to understand the psychological and spiritual temper of any historical period, you can do no better than to look long and searchingly at its art. For in the art the underlying spiritual meaning of the period is expressed directly in symbols. This is not because artists are didactic or set out to teach or to make propaganda; to the extend that they do, their power of expression is broken; their direct relations to the inarticulate, or, if you will, 'unconscious' levels of the culture is destroyed. They have the power to reveal the underlying meaning of any period precisely because the essence of art is the powerful and alive encounter between the artist and his or her world." (pg 52)

Every living person has certain feelings about the world around him. It is these feelings, common to all men, which are the raw materials of the artist's inspiration. This he must 'translate', into the structure of an art form, whether music, poetry or painting. The problem of the painter is this 'translation'; that is, he has to create some arrangement of shape, line and colour which convey the idea or the emotion which moved him to paint this particular picture.

I make what it pleases me to make.. ..I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason. I intuitively paint flags.

My aim is always to get hold of the magic of reality and to transfer this reality in painting – to make the invisible visible through reality.. .What helps me most in this task is the penetration of space. Height, width and depth are the three phenomena which I must transfer into one plane to form the abstract surface of the picture, and thus to protect myself from the infinity of space. My figures come and go, suggested by fortune or misfortune. I try to fix them divested of their apparent accidental quality.