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Art, though it is not precisely philosophy, shares the same pattern of response because, employing its own special means, it has the same goal: the elucidation and interpretation of phenomena. Thus, the artist's work is a position in regard to the anxieties, the pre-occupations and the dilemmas of our time, but a position that is not fixed in relation to preceding, concurrent and subsequent positions. On the contrary it is part and parcel of the whole, part and parcel of the ceaseless course of life. It is one link in a very long chain.

I have never been afraid to make use of the contributions of my predecessors or my contemporaries because I believe that this form of communication is fruitful and indispensable for the development of art. Moreover, the phenomenon of the individualization of art is a rather recent one. In the past, anonymous craftsmen offered us a collective work, integral and unique. Moreover, the work of each period, when time allows us to see it from afar, is collective, integral and unique.

I have always felt at ease with my thought in the course of my work; I have never felt alone in the erection and the elaboration of any particular piece, in this demanding, laborious yet so beguiling process. Fellow artists, known and unknown to me, have sent me messages from the depths of time and are sending them to me in the present. They are the ones who have offered me a hand, lent support, steeled my resolution.

I think, for example, of the creators of ancient Greek vessels: how much effort it required to inform their lines with such truth, certainty and life. Then I think of the sculptor of the superb frieze of the Sifnian Treasury at Delphi or the one who did the Charioteer the latter in particular. How he must have felt when he saw this jewel rise up before him. Then there are the artists from the Fayium period in Egypt, Giotto or Domenicos Theotokopoulos and his Toledo, that remarkable town. In Japan there was Hokussai with his companions, enchanted by flowering nature, by the birds, by the costumes or the fascinating hair above the doll - like faces of the girls. We have Rembrandt and Goya, Cézanne and Van Cogh in the fields of Southern France. Picasso. That great artist who knew of a beauty beyond the merely pretty or ugly. Salvador Dali, Braque, Giorgio de Chirico, Magritte. Bacon, who has shown us the debasement of mankind in our times. Moore. The American pop artists who daily observe a cruel life robbing us of our ideas and dreams.

Then there are the endless strolls through the Louvre, the Guimet Museum, the Orangerie, the Tate Gallery, the Prado, the Reijksmuseum of Amsterdam, There are the Metropolitan, the Whitney and that showcase of contemporary human achievement, the Museum of Modem Art in New York, all these places constantly stirring our interest, all of them leading to one inescapable conclusion: that from the very beginning mankind has had the need to convince himself that he truly exists

Good morning,