In the photographic series Clear air, I am inspired by abstract painting, while employing the conventions of landscape photography$)A!*the subjects are trees, the images are oriented horizontally. I limit my view to straight overhead and use long exposures that transform windswept branches into gestural blurs.

The process requires me to wait for the breeze; it's contingent on coincidence. As with any photograph, there$)A!/s an extent to which it's a chance operation. The resulting pictures have strong affinities with abstract painting, as well as traditional landscape photography.

Alfred Stieglitz described his famous $)A!0equivalents"$)A!*abstract images of nature$)A!*by saying $)A!0There is a reality so subtle that it becomes more real than reality. That's what I'm trying to get down in photography.$)A!1 Similarly, in Clear air I am creating a visual record of a psychic state.