It was important that people come to value light as we value gold, silver, paintings, objects.

I’m interested that light has thingness itself, so it’s not something that reveals something about other things you’re looking at, but it becomes a revelation in itself.

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.

[My work] is using light as a material to influence or affect the medium of perception. I feel that I want to use light as this wonderful and magic elixir that we drink as Vitamin D through the skin - and I mean, we are literally light-eaters - to then affect the way that we see.

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 was maybe 5 or 6, and my grandmother would begin sitting me in the Quaker meeting house. I asked my grandmother, 'What am I supposed to do?' and she said, 'Just wait, we're going inside to greet the light.' I liked that—this idea to go inside to find that light within, literally as well as figuratively.

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.