Laddie John Dill: I call them light sentences because I had to color code the tubes. Because obviously when they're off, they're a different color. So I would, I'd say, "Ruby, violet, maybe black light, clear." It'd be that kind of thing, and sequential. And sometimes I'd do a combination of four and then repeat that sequentially. So I got into that. The early ones, really, like this one here. It's all the same length of glass. That's another thing that I'm getting into now is different lengths and obviously different, like you might have five millimeters, which is like a hospital straw of tubing welded onto 12 millimeters. It's not easy to do. But the mess that it makes to try to get them together and everything is worth it. The mess itself, the industrialization of it, works with the aesthetic of it, too. Yeah. So they're not perfect. That one looks pretty perfect, but it's not.

With light sentences, they're very minimal. They're a straight line. I mean, you could write the Declaration of Independence in neon if you wanted to, or make pigs, and squares, and things like that. But I wanted to eliminate any kind of contextual thing, like any literal contextual. So you're only left with this tube and this arrangement of colors. That's all you're left with. But when it's on, it brings up, I think, emotional feelings. I know with the one here at Pasadena, every time I see it, I go back to the day I made it. It's just got that kind of sensibility.