No one who looks at my paintings can see whether a painting is upside down or not anymore. I've made or developed so many image models that some people have given up trying to keep track of me. But others have only one or two ways of doing things and are successful with that.
When Michael Werner saw a painting of mine, such as Die grosse Nacht im Eimer, which back then nobody wanted and everybody thought was ridiculous, he realized that this was the right provocation, that it represented the feeling of the times in the right way.
I am not a representative of anything. When art historians or critics or the public put somebody in a drawer like this, it has a tranquilizing, paralyzing effect. Artists are individuals. They have ideas, and the conventions for one's self as an individual are not for a group. There are always those who follow the group, but they belong in the margins. I refuse to be placed within, or added to, one particular school.
Most of arts what comes from the States to Europe has something to do with entertainment. I can't imagine artists in the United States having the same kind of isolated position that we have here in Europe. I have a feeling one lives more publically in the States.
Spending money on art has always been frowned upon in this country - even earlier, when my and others' paintings cost almost nothing. Something is always more important. The people in charge are always peddling reasons that others seem to accept. Those who don't drink and aren't crazy, or who don't attract attention with how they behave in public, aren't noticed in art.
There's a market for art, and things are indeed going swimmingly, especially for German artists. But everything takes place in America and in London, where there are quite a few wealthy, engaged people. What motivates them to buy art is a different question, but they do.
That was in 1957. And there I found out that Germany is a kind of province. I didn't know anything about expressionism, about the Bauhaus and Dada and surrealism. I was uneducated, so to speak - and everybody else was more or less uneducated, too.
Alfred Schnittke was an important contemporary composer, and he lived in Germany, but no one here has heard of him. Everyone has heard of Mozart, and many believe that he can still be found in that little house in Salzburg, which is why people stand there in line. I think that our music and our art belong to our era. If the public doesn't show up, it must be stupid.
I did not always trust my teachers, because I found them too weak. I was looking for something that could take me in a new direction, for things that I could admire. And because it was so hard to find this, I became a sort of outsider. That's why I began to identify with the insane, "outsider" artists.
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