Actually, he paints two pictures each time. The first one is slowly built up in layers, with a patience recalling that of the old masters, and then sealed, as it were, with a colour glaze. In the face of such untouchability the second step to the picture almost appears like a defloration or like taking clear possession of it. The act of partial overpainting defines itself with a sort of ‘camouflage colour’. The meaning of the second, the actual painting act, is enhanced by means of this monochrome proximity.