“I experimented with in-camera editing. There was a function that allowed me to rewind images. It was therefore possible to do superimpositions – I did what we call flicker effects. There was an image, a photograph, a printed photograph; 2, 3 seconds. I did that with the image of a painting. I would shoot a few frames, leave a couple of unexposed frames, than film another 2, 3 or 4 seconds. In the unexposed frames, you could put another image and that would create movement . . . but not necessarily in a way that flowed or that was systematic. I was not a theoretician!”