Your paintings often combine structured geometric elements with organic, abstract strokes; how do you find the balance?
I always start with a minimal geometric structure. At this stage, I work on the composition on a formal and chromatic level until I am happy with the whole. When this stage is complete, I look at the painting for a while, mentally projecting a trace, splashes, stains or lines drawn on the composition.
Then comes the (perilous!) moment when I realize what I have imagined. Then, of course, the trace, the stains, the lines must upset, disturb the composition, but at the same time, must establish a harmonious visual dialogue.