[…]
The machine is a constantly developing tool that enables me, within the
framework of the mechanical possibilities – I call it the visualisation
of an inherent intelligence – to produce highly precise structures and
lines, overlaps, obliterations, including pre-programmed or simply
occurring mistakes. It is these mistakes, ultimately, that step out of
the standardised process in order to answer the recurring question of
painting. The conceptual approach finds expression in the work, and the
use of the machines is only a means, one that is at the disposal of many
artists. We might call this positive examples of enlightenment and
education. As simple as the pictures may appear at first sight, at a
second glance they tell us a lot about logic, consequence, the methods
of science, intelligence, and also order and disorder/chaos. The
attraction of working with machines has accompanied me through most of
my career. In the picture, moreover, it is possible to depict a moment
of time and rhythm in a fixed condition, to represent a dynamic process.
These components, put together, consequently illustrate a part of the
human ability and existence, and also the human intelligence, or mind,
for those who prefer the word. In order to perceive this, or to be able
to depict it, I avail myself of a computer or a machine for an aid, for a
tool – a possibility to put the past, the present and the future up for
negotiation, i.e. that which is the only thing ultimately at our
disposal and which, in the best case, we can also help shape. […]
