With a brush I try to fathom the sky and touch the edge of a cloud. As a subject the sky is charged with a huge amount of symbolic meaning, but it is also something you can process by vision. It is air on the skin as well. When one takes the process of painting the skyline seriously, it is difficult to ignore the fact that the sky is also part of one's cultural scenery, and that even the weather is partly due to man's actions.

The sky - heaven - also represents infinity, the sacred, something that I believe is as essential to us as air itself. For me, spending time in the great outdoors have always been a central core experience of life, even though, or perhaps even because, I live in a city. Almost any form of light and weather will do for a motif, the essence of which I try to internalize through painting and through which I can attain greater understanding about the nature of the universe, the state of the atmosphere, or, at least, of myself.

However, certain atmosphere conditions, colours, subjects and their pictorial structures seem to be more essential than others. Perhaps these correlate with my basic grammar, the way I experience the world. When, earlier on, I painted abstract paintings “not based on perception”, these formulas came out clearly. Now they turn out differently clad in these later works, which, so it seems, relate to painting somewhat differently. The familiar insoluble equations, my favourite enemies, emerge regularly from their hiding places and may, during the years, find at least one possible solution.

While painting, I also make observations on countless types of lighting lurking in my head, waiting to be let out on canvas or occasionally by other means. Thus, I become very aware of traces of memory left by moments I have lived – everything that has been significant in my life.

Finally, I cannot know what nature will try to tell through me or what I am trying to say through it. Although speculating on the motives of the artist can help interpret the picture, I find it relieving that they resist transparent interpretations. Both the artist and the viewer can slip into levels of consciousness to which words have no access. People seek frequencies such as these in nature. Nothing is to be achieved by them; they are the goal.