It looked like an agricultural frame, something you might grow peas up – a lot of wires and cables strung from posts over a space the size of 57 tennis courts. It was actually built to study radio emission from quasars. I built the prototype and then six of us took two years to build the real thing.

For a photographer — it’s like actually taking a picture is like five percent of what I do. And the rest is research, reading, contact, setting things up, making contact, getting access, making people feel comfortable, doing the reporting, doing the interviews, getting the captions. It’s not getting there physically, the logistics on the ground. I mean, literally, taking a picture is the easiest part of my job.

To get the most out of the world around you you’ve got to really look hard. Most people out walking in the woods don’t really look. They just glance around. They scan. Before I start a painting I spend a lot of time looking and thinking, I go out in the car and pull a chair out of the boot and sit in the woods. I sit there and smoke and just look.

We thought that there were certain possibilities, in terms of physical movement, in terms of community, and in terms of what dance could address in our society. And those were the issues that we went after. And we worked with a great deal of rigor. Which is to say, we were very, very dedicated. We worked six days a week, we worked at least six hours every day. We did not perform much at all. It was really about the experience of learning and exploring and growing, for five years.

I might have liked to have done it a couple of years later, but you'd be stupid to turn it down.

One thing that I did was race against the British men a lot and they used to push me round the road; they used to make my life really hard but then when I was racing against the best women in the world, I'd been through just about every experience you could imagine. I remember this one race – a half marathon – where my husband literally pushed me into every kerb he could find, he pushed me into every corner, you know, messed around and tried to drop me out the back of the pack. Then when you're in a race that really matters, if that happens, you've got the skills to deal with it… you need to have practised everything you possibly could in the lead up to it.

I love training. It's not just about the competing. I had an amount of natural talent – you need that to go so far – but, actually, what I had, I think, is an ability to make myself work hard, to do the things I didn't like doing, to do the things that I wasn't so good at.

In the whole of my career, there were very few training sessions that I missed. Even when I was pregnant, I trained all the way through. I was back training when my daughter was two weeks old. You've got to commit to this, because it can be really easy to walk away from the track, convince yourself, "Oh, well, I'll do it tomorrow, I'll catch up". You can't and what I say is it's all pennies in the bank. When I say that to my daughter, she rolls her eyes at me, but you put a couple of pennies in every day and when it matters, then you've got this bank to call on, as opposed to you can't stick them all in two weeks before.