I don’t know a single collector or museum director who says: ‘Oh, he’s on a list, so I think I’ll buy something of his.’ The people who buy my art put a little more thought into it than that.

In the past Berlin was much more radical and extreme and now it’s becoming much more of a conventional European city.

I don’t think you need to be so result-oriented when you’re trying to define the success of an art work. I think we can allow some unpredictability.

I want to expose and evaluate the fact that the seeing and sensing process is a system that should not be taken for granted as natural – it’s a cultivated means of reality production that, as a system, can be negotiated and changed.

My goal is to formulate a new color theory based on the full spectrum of visible light.

Having an experience is taking part in the world. Taking part in the world is really about sharing responsibility.

Over the years, in making art, I have constantly explored issues dealing with space, time, light, and society. I am particularly interested in how the light of a space determines how we see that space and similarly, in how light and color are actually phenomena within us, within our own eyes.

I always try to make work that activates the viewer to be a co-producer of our shared reality.

The viewer brings something individual to the experience of any artwork.

Ive walked a lot in the mountains in Iceland. And as you come to a new valley, as you come to a new landscape, you have a certain view. If you stand still, the landscape doesnt necessarily tell you how big it is. It doesnt really tell you what youre looking at. The moment you start to move the mountain starts to move.