He has built on this visceral reaction by experimenting with scale and enlarging the sweets, the playful shift in size shrinking the viewer into feeling like a kid again. Although the candy is his best-known work, today Simon's practice has expanded to include larger sculptures that challenge the boundaries of traditional glass casting techniques. Whether it’s pulling molten sheets of glass out of the kiln and contorting them into exaggerated ‘bubble wrap’ rolls, or using an air compressor to inflate salvaged sheet glass into pillow-like forms, he finds satisfaction in developing the engineering aspects of his craft. For Simon, the thrill lies not only in the initial conceptualisation but also in the ingenuity required to bring his visions to life. Amidst technical innovation and changing mediums his ideas are still, if inadvertently, firmly rooted in nostalgia.
Outside of his practice, Simon seeks to help educate and engage creative students in the arts, drawing from his own experience of finding that traditional academic frameworks don't always serve creative or entrepreneurial students. His giant knuckle bone sculptures have been installed in schoolyards and public spaces, serving as reminders of art as a tool for learning, expression, self-reflection and fun.