In designing a film, I do not use theories or formal rules, but more my intuition. As an aid to making a new filmwork, I use still photographs. Both the form and the color of the still image inspires me to find a series of movements, a movement structure, which I think belongs to the this image. So after shooting, I have a series of images instead of just one. What fascinates me in particular is the "dissolution" of the original image in the movements. What results is not the transition from image A to image B, but a moving whole. The images A and B can still be individually identified in the film, but have lost their significance. Something new has been created. The movement has become a quality in itself.
In FOUR MOVES I used four sets of double squares, each set with a differing distance between the two squares. Through multiple exposures, the images in the film are more or less complex compositions of squares. When I see my own work now, after 15 years, it seems to demonstrate that movement is the consequence of not being content with a (static) image-composition. Continuous change as an answer to the fixed image.