We eat light, drink it in through our skins. With a little more exposure to light, you feel part of things physically. I like feeling the power of light and space physically because then you can order it materially. Seeing is a very sensuous act-there's a sweet deliciousness to feeling yourself see something.

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 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.

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

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

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.

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.