Towards the end of my art education, my interest tended to focus on Surrealism and Dada, therefore towards the traditional boundaries of painting. I had exhibited and was quite well on the way of financial success when I came to a rather sudden standstill around 1970. I re-evaluated my development and felt as though I had to start out again in order to develop on my own, without the influence of art school and art history.

I set out to explore every detail of painting, starting with the investigation of a painting's basis, the canvas. First, I decided to weave my own painting ground with thick ropes mounted on crude frames constructed from drift wood. After several years working with this idea, I decided to apply primer to the grid of ropes and, eventually, painted on this animal glue gesso. In 1975, I devised a system of anthropometrically shaped canvasses, spelling out words and applying encaustic paint.

Around 1980 I started to explore gestural painting, mostly using an academically painted central object like a grand piano, a vice, or a portrait, surrounded by expansive gestural marks. The palette became increasingly more diversivied and intense. By 1985 I started working on enlarged details of my paintings, continuing to hone down into details of details, enlargements of enlargements. This led to a rather extensive series 'The Dynamics of a Particle'. The first work of this series was an enlargement of another work with Heisig's Quanton Mechanics Formula constituting the central 'still life'. I worked on this theme of enlarging and detailing paintings — a sort of scanning — for the next few years, going through changes in the treatment of the surface and colour range.

I have painted the geometric shapes occurring to look like reliefs but also constructed reliefs. As the object of painting is flatness, illusionary spacial depth expresses flatness. I am still working as though I am detailing the universe, or may be universal truths. The passage of time — now is the past and the future does not exist.