In 1977 I enrolled on a Vocational Graphics Course at Mansfield College of Art (part of West Notts College of FE). Here we learned basic draftsmanship, graphic design, sculpture, ceramics and life drawing.

I also exhibited a portrait painting at the Mall Galleries, London and was awarded Honorary Membership by the National Union of Mineworkers for a large scale social realist mural which became housed at their Nottinghamshire Headquarters at Berry Hill, Mansfield.

Continuing an interest that began in a school Film Studies Course, I attended the Arts Council funded Kino Film Club at Mansfield Library where I was exposed to art house movies by the likes of David Lynch, Akira Kurosawa, Andy Warhol, Andre Tarkovsky and Peter Greenaway. I also continued the practice of making of satirical fanzines parodying students and members of staff.

As the course progressed it became apparent that I needed to pursue fine art study and was accepted on a two year Art & Design Course at Clarendon College where I could build-up my portfolio and gain additional A-Level qualifications.

Clarendon proved to be a highly creative environment and the place where I met my lifelong friend and creative collaborator Chris Richards. Throughout this period I submitted abstract canvas constructions to the Young Contemporaries Exhibition at the ICA, London and was increasingly drawn to conceptual art, performance and creative writing. I also became interested in the local music scene and was soon making mix tapes and composing satirical songs with Chris who could also play guitar.

In 1980, by the time I arrived at the School of Fine Art at Leeds Polytechnic, I had virtually abandoned painting in favour of writing and performance. I also became custodian of the Fine Art Sound Studio and pursued ambitions as a pop performer alongside fellow students Russ Fisher and Robert Smith. Chris also joined us for recording sessions and Russ also introduced keyboard player Rose MacPherson to the band. We adopted the name Smart Cookies and enjoyed some success, attracting attention from the music press, independent record label Rough Trade and the BBC's post-punk champion John Peel. We saw the Cookies as following in the tradition of other alternative pop acts such as Gang of Four, Fad Gadget and of course, Soft Cell, who against all odds released the biggest selling single of 1981.

In my second year I was awarded a scholarship and also collaborated with fellow student Mike Millward on a performance piece commemorating 20 years since the building of the Berlin wall. The performance began with multilingual recitals as a mirrored wall was erected in front of us until the audience were left facing a reflection of themselves. Creative output at Leeds was highly politicised in this manner, although I found myself increasingly influenced by lecturerJeff Nuttall; who was far more free thinking, anarchistic and poetic and had made a mark in the 60's with his influential beat publication 'Bombculture.'

Smart Cookies activity continued after art school, though we had lost Russ and Rose by the time we performed our headline gig at Nottingham Palais in 1983. The last few months with the Cookies were significant because we were exposed to computer music technology that incorporated the now ubiquitous MIDI standard (Musical Instrument Digital Interface). Although known as the Smart Cookies frontman, behind the scenes I was also responsible for drum machine programming. I owned a Roland TR808 Rhythm Composer and also learned how to program the MIDI-equipped, Drumulator and synchronise it with older analogue synthesisers. To me, the creative potential of home computers was becoming clear and I soon acquired a BBC Microcomputer and a manual explaining how to make simple graphics with a programming language called Basic.