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

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.

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.

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

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.

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