I wanted the light to be the revelation. It has to do with what we value. I want people to treasure light.

It is interesting to work in Las Vegas. I've always thought of Las Vegas as Los Angeles on its day off. There's not any hierarchy of taste, and that's what L.A. always was to me: It's not really a town of culture, it's a town of entertainment.

My work is about your seeing. There is a rich tradition in painting of work about light, but it is not light -- it is the record of seeing. My material is light, and it is responsive to your seeing.

My works are about light in the sense that light is present and there; the work is made of light. It's not about light or a record of it, but it is light. Light is not so much something that reveals, as it is itself revelation.

I'm known as a light artist. But rather than be someone who depicted light, or painted light in some way, I wanted to have the work be light.

I like when you feel like you arrive in a very different place, with a different ordering of the reality you normally think of.

We live within this reality we create, and we're quite unaware of how we create the reality. So the work is often a general koan into how we go about forming this world in which we live, in particular with seeing.