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.

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.

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

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.

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.