In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.

In an era of climate anxiety, The Memory of Trees, offers an alternative mode of engagement with the natural world. These works do not shout or accuse; they ask viewers to remember what they love—and to consider, quietly, what it would mean to lose it. This is art as gentle witness.