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 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 when you're younger and making things, it's something that you have to fight through, to finish things. I feel like I'm past that stage, and I get the appreciation for being in that moment, and soaking it in.

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.

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

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.