I mean essentially when I went to Kingston to do my foundation year, I’d had a couple of years out of being in full time education, and I’d started working in — I traveled, I’d worked on this boat, I’d done all these other things, and then I was working at the Royal Court, which is this amazing theater in the center of London, and I had an idea that I wanted to be a theater designer, so to do that, I needed to go back to the college.

So, I actually went to college, just foundation with the idea of doing theater design, doing a vocational course. And then during the process of being at Kingston that year, I realized that a lot of the theater work that I’d seen, that I was interested in, and the people that I’d been kind of mixing with, that they were quite unusual, and in most theater — the relationship in most cases between a theater designer and the director is a more — I think it’s going to sound terrible, but it’s kind of more servicing the kind of vision of the director. ((All Happening Parallel))

And I realized from doing all these different kinds of design projects that I did at the foundation, that I wasn’t really a designer. I kept changing the brief, I kept changing the question, and the instructors there that kept telling me that I was an artist, and I kept saying — I kept getting more and more upset at the idea that I was an artist, because I couldn’t really understand what that could be. It didn’t really make any sense to me.