If you take a flower to Mars, for example, the hostility of Mars probably won't allow the flower to live without oxygen. The process of being an artist, for someone who wasn't born in an arts-centric environment - I came from the Bahamas, where there's not a historic tradition of art-making, at least from the Western prospective - in a way is kind of an alien concept.

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.

I think if art has one underlying value, it's that.

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.

When you're in [ Bahamas], it feels like a bunch of islands, with keys and things like that. It's an existential archipelago. It's funny, you try to escape who you are and where you're from, but it's always part of your social DNA.

Sometimes I'm inspired by the material and sometimes there's an idea that speaks to a material.

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