Goldsmiths in the end seemed like really the only place where I felt confident that I had the chance of getting in, because I had all this work, but I didn’t know what it was. So, I felt like they weren’t going to ask me the question of “Is this a sculpture or is this a painting?” which is a kind of weird question. But they would either be interested in what it was for different reasons. So, yeah, I mean a lot of the instructors at Kingston laughed when I said that I’ve applied to Goldsmiths, because they normally only got like one student in a year from Kingston to Goldsmiths, and it was seen as this very special, very particular place, and it is a very special and a very particular place, but I guess what I was doing in my chaotic and not — I mean just yeah, in my not knowing of what I was doing, fitted in to the kind of logic of Goldsmiths at that time, and more — it worked.
Yeah, I don’t know. I just went there and I had a look around, and I just fell in love with the place, and I felt rather than feeling really intimidated by it, which is what I’d anticipated from everybody saying, “Oh, you can’t apply there”, I just felt like, “Oh, I can totally fit in here.” I just felt kind of at home. And yeah, I dragged all this work there and I had this mad interview, and they took me. So, I think initially when I went there from the questions that they asked me and some of the conversations that kind of happened whilst I was there, I feel that maybe some of them felt that I’d become a filmmaker. I would start working in film with moving images, but that has sort of never happened.1 But I guess maybe that was just something from how often I talk about or describe work that I do.2