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.

I've always felt that night doesn't fall. Night rises. There are these incidences in flying where you just sit there. It's one of the best seats in the house.

We create the reality in which we live.

To have a certain new eight-and-a-hal f-minute-old light from the sun-to feel it physically, almost as we taste things-this is where you can work with light like that.

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.

Light is not so much something that reveals, as it is itself the revelation.