Ann Kendellen

© Ann Kendellen

While wandering through towns from British Columbia to Louisiana, I find myself captivated by trees. We take this living plant and carve, prune and decorate it. We also take the surface of an exterior wall and imagine the tree upon it.

The tree is a potent symbol. It can suggest beauty and happiness, protection and strength, or balance and healing. Individual trees represent very particular characteristics. The elm is intuition; the aspen determination; the willow magic and dreams.

In an urban habitat trees may survive and even thrive. They can spring from cracks in concrete, reaching up to light and life. In curious combinations, renderings of trees sometimes sit beside the living plant. Other times the painted tree is hidden in grimy alleys and parking lots. The tree’s deep relationship with us, like its living branches or sketched leaves, remains both real and imagined.

Ann Kendellen, Portland, Oregon, USA

© Ann Kendellen

Ann Mitchell

My photography is grounded (literally) in the landscape I grew up in: the West. For generations my family has farmed and I believe there’s a genetic imprint in the peace I find walking to the center of a plowed field. As a society we’ve become disconnected from these roots — and with
this series I’m striving to bring the inherent beauty of the land, and how we use it, to light.

Wilson’s Landing is the kind of place all small towns have — where kids go to drink beer, shoot guns and just hang out.

Over the past two years I’ve also been exploring the visual aesthetics of digital color, which is, by its nature, a very non-heroic photographic language. Returning to the landscape in a quiet manner, I am searching for a space where color is both flat and dimensional — where the land is both ordinary and timeless.

— Ann Mitchell