I intend to make paintings that are autarchic, self-evident and independent of interpretation. I set up a method to turn the painting into a set of facts. This objectivity claim links up with the tradition of Minimal Art and Fundamental Painting – a tradition bristled with axioms: square = neutral, grey = neutral, neutral = no characteristics, neutral = hygienic, without brushstroke = cool, “untitled” = autonomous, and the ideal exhibition space is empty, white and silent… Objectivity by decree.

I try to avoid the dogmas via “processmatic” objectivity. For that purpose I use dice plunged in paint and paint bombs. They produce decisions (no decision/no form). By throwing these “decision generators” on the canvas and applying a transparent procedure to encapsulate the results (the splashes, the marks and the prints), the causes become part of the image, presenting a square meter of truth. A “trans-resistor”, resisting transformation and transforming resistance. A painting stopped by its borders, holding its breath. With wall works I intend to strengthen this effect. They neutralize the context, not by white(cube)washing, but by bringing a counterforce into the exhibition space. Artefact against artefact. Although a counterforce, thesewall works are pretty vacant themselves: chance, noise, decoration, damage. Constructive nihilism.