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As a kid, I was always into art at the same time as computers, and eventually I realised I was making more interesting stuff with my keyboard than with my hands. I really enjoyed modifying computer games more than playing them, so that got me into programming.

I was always fascinated by graphic art and typography and architecture. And so I was constantly cutting things and making blocks and making buildings out of shoeboxes.

I grew up with the idea of the cyborg and the robot, but at the same time I felt this intense disconnection between the things I was engaged with and inspired by in terms of fun and play. It seemed like paintings and drawings were so static.

I discovered at an early age that all I've ever wanted to do is design.

Art-making was part of my daily life from a very young age, and I still love that kind of everyday art-making.

I made physical objects because I know how to do something on the computer. That struck a chord with me: Most women of my generation have grown up with technology but lack the handmade creative skills of former generations. This is a big opportunity to fill that gap.

From about eight years old I was always making things on the sewing machine. Friends would see me making dresses and costumes, and I'd use difficult fabrics such as Lycra and elastic. But you know, my dad was creative and my brother is inventive too.

As a kid I was creative.

I never had the exposure to techniques and so forth that children have today with art workshops, but I always had crayons and pencils and still have work going right back to when I was five or six years old.

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.