I had wall space to fill and a collection of prints and postcards to fill it with – various Eschers (Reptiles, Concave And Convex, Relativity, The Tower Of Babel), Guernica, one of Picasso’s mutations of Las Meninas, Dorothea Tanning’s Eine Kleine Nachtmusik, Jack Yeats’ For The Road, a photo of Cornelia Parker’s Cold Dark Matter and that Flandrin I really love.

The Eschers and Picassos are black and white, the others are in vibrant colour. I had this vision of connecting the black and whites to radiate outward like spokes from a hub, and then surround their tips with the coloured prints. I worked assiduously on the arrangement, Blu-Tacking, sticking, checking for crookedness and congruence with surrounding prints, re-arranging where necessary. Finally, I stepped back and surveyed my work proudly, convinced that despite a congenital lack of graphic or spatial talent, I had indeed come up with something artistic here.

It was a huge swastika. I took it down.