A: I think that it's important for museums to invest in contemporary living artists, and The CJM does a wonderful job of that. They commissioned a large work, Light in the Sky, for the 2023/24 Exhibition First Light: Rituals of Glass and Neon Art. In my experience as a working artist, museums and galleries too often don't appropriately compensate artists for exhibiting work, but collaborating with The CJM was a very different and refreshing experience for me in that regard, as they were able to cover the full cost of fabricating a new (and pretty monumental) work, as well as other related expenses. Investing in artists means a greater visual arts economy! 

A: Right now, I am most excited about a permanent installation we are developing for Phoenix's Sky Harbor International Airport, called May the Desert Reveal to You Mystic Truths; May you Constantly Revolve and Stay Still in Endless Light.

The piece I created for The CJM exhibition, LITS, was actually a stepping stone to this project, since I had been creating ceiling-suspended works, and the piece we are developing for Sky Harbor is a giant, ceiling-suspended work. I am also beginning to learn rock carving, which feels very juicy and new. Even though it's one of the oldest sculptural (and maybe artistic) mediums, it's very new to me and feels full of potential, especially when combined with neon! 

I think there are three ways to gather inspiration as an artist. The first is to live life with an openness and receptivity that doesn't fit well into contemporary life. Being soft, sweet, and excited for life is a mindset that we have as children, that most people "grow out of." I think artists are special in that they never really lose this thirst and excitement for life, and when you start to invite in this way of living, inspiration is all around us. Everything is magic, and it's just a shift in perception.

The second way I find inspiration is through practice. Creativity is like a muscle—the more you utilize it, the stronger it gets, and the more precise it becomes. All it takes is daily practice to focus your creativity in a way that becomes really skilled. For me, that means going to the studio every day and creating. 

The third way is what I call 'filling the well,' and applies more to Career Artists. Every once in a while, I create something just to destroy it, hide it from the world, or bury it. The important thing is that nobody else sees or knows about it—it is created solely for myself, for the well of creative ideas that lives somewhere in the ether. It is my way to practice gratitude for myself and my creative abilities, and has really helped me not become burnt out or disillusioned with being a working artist. It keeps the mystery alive! 

A: Although I am not Jewish, I love the tradition behind incorporating specific foods into rituals and celebrations, like the Seder plate during Passover. There is something so powerful about passing down tradition through generations and food as a component in storytelling. Then actually eating the food, too, is a powerful way to embody the stories and traditions in a way that is figuratively and literally sustaining.

I also love Hanukkah, and the story about the miracle of light, as someone who is fascinated by the ontology of light. My sister and brother in law's family celebrates Hanukkah and I've always enjoyed learning the traditions and the symbology behind everything. Any time I find a miniature menorah at the thrift store I always buy it for him—they have a huge collection all around their house.