I started as a tap dancer in Durban, which is on the coast. That was an important part of growing up, turning on the radio in the morning and hearing Zulu singing or the news in Zulu.

There's a moment when you say, "Okay, I'm not going to become a dancer. I'm not going to become a painter." So in a sense, I ended up writing about those big conflicts that I felt.

As far as I'm concerned, the 20th century was performance-driven, but for some reason, the critics and historians didn't know how to integrate that.

It was very interesting growing up in South Africa then. It was extraordinary. It was multiculturalism before it became an issue.

From day one, my idea was always to use the gallery as this animated place to discover culture in a much bigger way.

I think what art is always doing is making us see the world so differently, and I don't mean just colors and light, but re-thinking relationships, spatial relationships, psychological relationships ... those who gravitate to the art world actually want to be puzzled.

I had met American artists and just couldn't believe their energy. London was always such a struggle to get anything going.