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

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.

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

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 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.

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.