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 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.

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.

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

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.