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I really enjoyed the sort of real crazy, eclectic layering stuff and how it all worked together. I could tell it was some of it was derivative of something. I could tell that certain things were being looped around and I just really enjoyed the way that it all came together.

Then I came in twice a week - for my own enjoyment as well as to be a guide. And then we started to apply some of the splinters of the ideas back into the piece.

I was a huge bookworm as a kid, and you could usually find me reading something with a dragon on its cover.

I spent a good part of the nineties roaming the Earth writing about conflict. It was very grueling. I was beginning to find this way of life was, wow, addictive and deeply meaningful.

I started making houses for ants because I thought they needed somewhere to live. Then I made them shoes and hats. It was a fantasy world I escaped to where my dyslexia didn't hold me back and my teachers couldn't criticize me. That's how my career as a micro-sculptor began.

The miracle of turning inklings into thoughts and thoughts into words and words into metal and print and ink never palls for me.

I'd been writing stories since I was a child. I wrote little books for my mom and bound them myself with needle and thread. Mostly, they were about my pets.

My mama loved books; I became fascinated by the wonderful stories that came out of these things she held in her hand - and started to make them up myself.

I was very into making the Big Artistic Statement - it had to be innovative; it had to be cutting edge. I was desperately keen on being original.