[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.

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.

[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.

We create the reality in which we live.

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.

In thinking of light, if we can think about what it can do, and what it is, by thinking about itself, not about what we wanted it to do for other things, because again we've used light as people might be used, in the sense that we use it to light paintings. We use it to light so that we can read. We don't really pay much attention to the light itself. And so turning that and letting light and sound speak for itself is that you figure out these different relationships and rules.

With no object no image and no focus, what are you looking at? You are looking at you looking.