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

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

Light is not so much something that reveals, as it is itself the revelation.

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

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.

We create the reality in which we live.

Remember technology does not make good work. You can still write a poem on a brown paper bag, and haiku is just as profound as the pyramids.

[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.

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 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'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.

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

I make spaces that apprehend light for our perception, and in some ways gather it, or seem to hold it...my work is more about your seeing than it is about my seeing, although it is a product of my seeing.

When you’re O.C.D., you want the most beautiful animals.

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.