In early life I had felt a strong desire to devote myself to the experimental study of nature; and, happening to see a glass containing some camphor, portions of which had been caused to condense in very beautiful crystals on the illuminated side, I was induced to read everything I could obtain respecting the chemical and mechanical influences of light, adhesion, and capillary attraction.
A tree forms itself in answer to its place and the light. Explain it how you will, the only thing explainable will be your explanation.” Sabbaths 1999 IV
[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.
Art is harmony. Harmony is the analogy of contrary and of similar elements of tone, of color and of line, conditioned by the dominate key, and under the influence of a particular light, in gay, calm, or sad combinations.
If you're lucky, and a building succeeds, the real product has many more dimensions than you can ever imagine. You have the sun, the light, the rain, the birds, the feel.
In northern architecture - the cathedrals of Europe and all the little churches - the details, the carving of stone, become necessary because the light is not there to help you very much. You have to enrich surfaces. The desert reduces form to its simplest nature. There is no need for gargoyles or flying buttresses in the desert.
There are different kinds of painting, some with lights and some without, but still if you look at any painting here (in the light) and then over here (out of the light) it's an entirely different thing. The consciousness of this came to the Impressionists and I'm very interested in that.
The English light is so very subtle, so very soft and misty, that the architecture responded with great delicacy of detail.
