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.

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.

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

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

There are certain conceptual powers in this project, like the relationship of glass to sand, and the idea of putting glass back into the earth, which is where it comes from, which are related to the whole concept of I Am. So there's that one below-surface idea, and then there's these other practical and more pragmatic ideas about how the light functions and the geometry and mathematics behind the reverberation of light from the surface outward.

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