We think of color as a thing that we’re receiving. And if you go into one of the Skyspaces, you can see that it’s possible to change the color of the sky. Now, I obviously don’t change the color of the sky, but I changed the context of vision.

I’ve always felt that night doesn’t fall. Night rises.

Light is a powerful substance. We have a primal connection to it. But, for something so powerful, situations for its felt presence are fragile . . . I like to work with it so that you feel it physically, so you feel the presence of light inhabiting a space.

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.

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 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 want to create an atmosphere that can be consciously plumbed with seeing, like the wordless thought that comes from looking in a fire.