Photography is largely a medium responsive to observation more than conceptualization. Sure, one might imbue a particular image with forethought, planning and insight, but the execution of the image is done solely by the acts of looking and responding to that which is observed. In my observations of the world I tend to approach a scene by isolating one certain element that stands out on a personal level. Once selected, I examine that object by probing it with my eyes and the lens, picking it apart into minute sections. Back in the studio these studies and details are then deciphered as a Romantic might contemplate the experiences of the day and are placed onto the canvass in a manner, which explores the latent mood of my observations. The tree ceases to be just a tree, becoming a tablet containing my impression of the object combined with my mental, emotional state of being. As I develop the surface textures my thoughts once more become contemplative, meditative, almost unconscious, while I recreate the memory of the landscape. The resulting image preserves the faceted act of observation and something of the spirituality of the place.