Through the interplay between the obvious and the mysterious, painting creates a tension which stimulates new ways of looking at things. Making details visible which are normally perceived only fleetingly gives them a new significance. Certain parts of a picture appear highly three-dimensional through their artistic compaction, and sharpen the viewer’s perception.  Other parts remain in the background, recede or remain in the dark. For me, curves and circles are essential elements of three-dimensionality and its realisation. New examples of this discourse are the lemons I painted in oil on canvas. Hyper-realistic at their centres and becoming increasingly unsharp towards the outside, they are designed to roll out of the canvas towards the viewer.