Well, my particular history is that I moved a lot. ((Et Cetera Et Cetera Pt. 1, Old Tattoo Artists)) I moved from different cultures, from Africa, where we had a pretty happy and harmonious life, and then to Italy where it was very nurturing and sort of communal. And then to Australia, which — it initially seemed kind of austere and kind of vast. And so, just being taken out of these environments for children and the change, like for me, it was — yeah, it made me less confident and less sure of myself, and there was no routine — I couldn’t control my environment or even understand it. So, yeah, I did grow up to be a very anxious child. And also, my family was pretty traumatized. ((Step Up To The Plate)) It had its own difficulties that they had to deal with, and they didn’t have much time for us, and they were quite aloof, so I was left alone.

But I used children in my work, because they bring out the best in us, in that it’s easier for us to empathize with them, than it is to empathize with an adult. And often in my work, they represent the kind of — well, they can take the place of the way we feel quite uncomfortable with new technologies and what ways of being — that things like genetic engineering can bring about.