New York has changed amazingly; it's gentrified everywhere, and it's a much gentler place.
There was a time when I restored antique planes to support my art habit.
I apprehend light - I make events that shape or contain light.
I've always been interested in arrival, and coming to a space, and even to looking back at where you were.
Art history is littered with work that involves light.
At Roden Crater, I was interested in taking the cultural artifice of art out into the natural surround. I wanted the work to be enfolded in nature in such a way that light from the sun, moon and stars empowered the spaces. I wanted to bring culture to the natural surround as if one was designing a garden.
My desire is to bring astronomical events and objects down into your personal, lived-in space.
You can't stop demographics. And show me a fence that ever worked. It didn't work at Hadrian's Wall. The Great Wall of China didn't work. The Berlin Wall.
I sell blue sky and coloured air.
In age of consumerism and materialism, I traffic in blue sky and colored air.
The cardones cactus is very similar to saguaro cactus in Arizona. These cacti only grow in very specific, particular places.
I have made things for Calvin Klein and other designers, and it's interesting to see the way each person approaches it.
I'm working to bring celestial objects like the sun and moon into the spaces that we inhabit.
There's traditionally been a large disconnection in contemporary art between the audience and the artist. Generally, audiences are looking towards what they like, and I can tell you, that's the last thing on an artist's mind.
All art is contemporary art because it had to be made when it was now.
Sometimes I'm kind of cranky coming to see something. I saw the Mona Lisa when it was in L.A., saw it for 13 seconds and had to move on.
In Arizona, we're at 7,000 feet, so we're above half of the world's atmosphere. It's crisp but hard, a side-raking light that can be revealing but doesn't have the softness that maritime air has.
Each day is a different length of time and that gives a different length to the cusp between light and darkness or darkness and light.
There are different stages when you fly. The first stage is the dollhouse effect, seeing everything on Earth like it's a model. Suddenly, all of your concerns seem very small.
We're made for the light of a cave and for twilight. Twilight is the time we see best. When we dim the light down, and the pupil opens, feeling comes out of the eye like touch. Then you really can feel colour, and experience it.
