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Painting trees is an exciting experience for me. Each has their own characteristic and charm in all elements. Something I find never boring, always changing.

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Not only trees, but the image of trees, appear in our lives more often than we realize, and bring us pleasure. Here an artist of a different sort explores their likeness.

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Rain or shine finds me walking the paths of McLaren Park with my dogs. Breathing in the smell of the trees and the sounds of the wind. An injection of soul in the City.

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The work is one of a triptych I did back in 2000 to 2001 based on a visit to Half Moon Bay, I took 92 back to San Francisco by chance and stopped to study the wonderful geometry (from the road) of this Christmas tree farm

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TreeSpirit Project photographs illustrate my love for trees and nature, that of the volunteer participants depicted, and the interconnection between all humans and trees collectively, which sustain our species physically, spiritually, and literally, making the air we breathe.

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Painting is a coming together of two things: a specific subject and that which allows us to comment, empathize, love or feel compassion for the subject.

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While camping with my son in Mt. Lassen, California, he began carving a small stick to a point. I asked him if I could borrow it and with it I began to draw the various small trees which surrounded our camp ground.

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Dont be scared by the intensity. Big Sur holds you safely and profoundly. I (try to) paint portraits of trees like Modigliani painted people. This tree has a particularly intense spirit, as she lives on the cliffs in Big Sur. Unlike most trees, she's tempestuous and passionate—her energy more exalted than grounded.

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Organic branch-like forms and a fascination with strong bold lines which explore the relationship between figure and ground, representation and abstration.

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I have always been drawn to panoramic views. In 1980, I acquired a 1918 Kodak Cirkut camera, which uses a 10 by 72 inch negative and can take 360 degree photographs. I have photographed scenic views in San Francisco and many National Parks with the Cirkut Camera.

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The watercolors I have been painting lately are all about the interplay of transparent colors. The heavyweight textured paper provides the perfect surface for this delicate medium.

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I made a theater of trees using vintage post cards, German chromolithographs circa 1887, and a French botanical book circa 1907.

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The Digital Metaltype medium has allowed me to combine the immediacy of photography with painterly elements of color, form, texture. As portrait subjects, plants provide unlimited possibilies for exploration of these concerns.

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I like the earth.

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I moved here from Washington State and mourn the loss of trees as visual backdrop to my life. In my recent monotype series, gathered leaves create the surface rhythms and bring nature into highlight.

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I photograph in nature or city, often at night or dusk, seeking mystery of place. Beyond immediate vision, on the edge, anything is possible. For inspiration I keep returning to these kinds of places.

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My paintings focus on core compositional elements, on an investigation of color relationships, and on the interaction between abstracted and representational form. The paintings reference and simplify the natural world.

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In shooting trees, I'm drawn to dense networks of branches through which light is screened, resulting in crazily complex patterns and a pleasurable optical trance.

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I like my stories badly told. I like what happens when someone gets off the subject and tries to figure out how he got there. I like the phrase, "Where was I going with this?" This is the moment when the story seems to rock between going over the edge or going back to where it was before it went off track. When it goes over the edge, the story is no longer about a plot. It's about the bare elements of narrative. It's about letting everything collapse into a grayness in the hopes that there will be a way out. It's a little like that and a little like trust. But its not about relying on any pre-established structure for reading or writing. It requires the reader, viewer, listener to rely on his or her wits, which—politically—is the most important act anyone can be asked to do these days.

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If I was forced to choose between a world of humans without trees and a world of trees without humans, there is no doubt in my mind which world would be best off. Let's never reach that point. Buy a tree. Plant a tree. Give a tree. Save a tree.

Learn more about Scott Hewicker's King of Kings.

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Hutton's work explores issues of isolation, lost ideals, false realities and socioeconomic issues spurred by the ubiquity of mass production and American consumerism.

Courtesy of Hespe Gallery.

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The work represents the gnarled trunk of a huge, old cherry tree that stood in the backyard of my house in Ann Arbor, Michigan. By the time this was painted the tree no longer produced cherries. But its bark was the subject of endless fascination.

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"The Dreamscape Series" are paintings that explore themes of seaosnal shifting, spaces in-between, solitude, stillness, which promote contemplation and peace. They are achieved using oil, bronzing powder, resin and other mixed media.