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.

The Meeting is actually like the Gunpowder Meeting, or some of the earlier American Quaker MeetingsThe long house form is something that was traditionthat's what I started with as an idea. But then making this in terms of the sizing and the use that was asked for by Live Oak Meeting- I mean it's a very traditional form, except it's convertible. The top opens, and it makes a sky space where sky is really brought down to you; your awareness of it is made quite different. It was a little bit of a novel idea, that it's a roof that opens.

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 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.

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.

I make spaces that apprehend light for our perception, and in some ways gather it, or seem to hold it...my work is more about your seeing than it is about my seeing, although it is a product of my seeing.