You don’t have to paint a figure in order to convey feeling. In abstraction, the aim is in organizing states of feeling. I am interested in abstraction but not in the sense of condensing particulars into sterilized forms, or of taking things out of the world in order to get at some supposed refined ‘Idea.’ Rather, my fascination revolves around the topological traces of painting, or of having painting become like geology. Through this aim painting conveys a mineralize field: the imago becomes an abstraction that puts one into the world. In this way, the states of feeling are diffused into the field of the sensuous beyond Idea, beyond the painter’s will to power. It is not about a struggle with the object, as if the object could be fashioned according to my dictates, but with a continual enhancing, replacing and displacing that is characteristic of working with the object and learning from it.