One of the nicest things is that I still get, very ambiguously, people saying to me, "Oh, I'm just reading your book." And I say, "Which one, for God's sake, I've done six now!" "Oceans of Sound".

I was associated with the Artist Placement Group in the early 1970s and David Hall, the video artist, was an Artist Placement Group artist. I was completely broke at that time, and he said to me, "Come and do some teaching" - he was head of department at Maidstone College of Art. And I went and did a couple of teaching days and practically the only person who showed up was David Cunningham [Flying Lizard's main man], with all of this finished work

I do still have dips of confidence or [can think] everything I do is rubbish.

I don't mean I give the same intensity to everything I do - if I did that, I'd be dead, but I'm very conscious, I make notes, and I have a fairly good idea of what's happening in my life.

People don't have to put you in a box. You can have the confidence to move across, and combine and learn from each different practice. They inform each other.

I was working in, being a single parent with a grieving child of five years old. It was horrendous. I couldn't go out much, because I had my daughter to look after. So people used to come round, and Tony Harrington from The Wire came round.

I think I was like [a game of] skittles, knocked apart by this wooden ball, and there's a strength to that: you're not too self-conscious about what you're doing, so you're not too worried about it.