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My mum didn't want me to really pursue music in the beginning, but I'm a classically trained guitarist because of her.
From the beginning, I knew intuitively that if nothing else, music was safe, and that nobody could tell me anything about it. Music didn't need a middleman, whereas all the other things in school needed some kind of explanation.
I never took a grant or borrowed a penny from anybody. It was partially because I didn't really know how to do that, but secondly, my pride never would have allowed me to. In the beginning it was about doing it the right way, on the merits of the music.
I grew up as a dancer, and music and dance are so closely tied that in ballet class, you're listening to all this classical music, and in modern class, you're working with a live drummer. It was something that always made me feel really comfortable, and I've had a connection to since the beginning.
With the violin, for example, one understands culturally that the sound comes from the instrument that can be seen. With electronic music, it is not the same at all. That's why it seemed so important to me, from the beginning of my career, to invent a grammar, a visual vocabulary adapted to electronic music.