I was born in a small clapboard house on an island, but I also have certain privileges that I didn't have when I was on the island. So that dichotomy again is actually really crucial.

There's always a moment that tilts the scales of the project, and it's always different in every project.

I think being an artist and taking on those challenges is just how it is for me. Because I was always a foreigner, I was always the outsider.

The idea of being in the desert is fundamental, but it's totally relative, and it's about that membrane: the way that one defines self versus the environment.

I don't really feel pressure. I'm so distracted by what we're doing; I'm doing this four-acre project, it's just absorbing all my attention. Before you know it we're onto the next project, and so on and so forth.

I think it's every artist's nature to want to escape. It's also human nature in a way, depending on your personality, to want to get away from it all.

I was approached by Neville Wakefield. I've known Neville for almost a decade, but we had never really worked together. We sort of threatened to work together on a number of other projects but never really did.