I was making a lot of gold work and granulated and all this kind of stuff. It looked pretty good. It holds its weight pretty well at the V&A. Olivia and I were in Florence. She said, “My God, the whole city is just glowing.“ It was. It was about 5. It had this incredible religious glow to it. We kept looking and looking—where does it come from? Of course, the sun was setting, and it was reflecting off the Duomo.
Absolutely, at that moment, I knew that everything I had done so far, it was good, it was like okay, fine—I hadn’t [truly] made anything yet. It was like, I had to somehow understand the light, and how gold could be instrumental in that. Could I paint with light? Can I embrace it? From that day forward, all the gold that I had used, and all the steel and all the aluminum has to do with a very active participation of how light can change everything, visually.