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.

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.

I am not an Earth artist, I'm totally involved in the sky.

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.

The sky is no longer out there, but it is right on the edge of the space you are in. The sense of colour is generated inside you. If you then go outside you will see a different coloured sky. You colour the sky.

I've always felt that night doesn't fall. Night rises. There are these incidences in flying where you just sit there. It's one of the best seats in the house.

I like when you feel like you arrive in a very different place, with a different ordering of the reality you normally think of.