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.

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.

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

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