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.

The way that I Am is designed, it becomes a kind of archipelago, which the Bahamas are.

I think there's an interesting line drawn towards extreme environments, and the way I define extreme is through a sense of otherness. Or foreignness.

Poetry makes sense of the parts of human experience that are confusing and not decodable in any other way. It makes accessible the inaccessible.

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.

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.

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