BY SHALEEN DESTEFANO

Having been a teen in the 90s, I can still distinctly remember the scents of a dark room and the sensation of watching your photograph come to life in the film bath. Kristen Mickulesku of Meander, caught our attention with her beautiful images of the West. Her devotion to film has us wanting to dust off our old cameras and get back to our roots. We were grateful to have an opportunity to learn more about her journey as a photographer. 

We were instantly drawn to your work because you capture the beauty of the West with your images. How did this journey of becoming a photographer begin for you?

I was always drawn to making images and trying to capture little details, fleeting moments, and bigger picture connections. In high school, I got my first DSLR camera and dove into shooting portraits. I was also given a family member’s old film camera but I didn’t even consider that it could still function. Either way, it was a lovely relic so I held onto it.

I studied geology in college and fell in love with landscapes through field work. I was (and still am) in awe of the immense geologic processes happening all around us. In school we studied many unusual and awe-inspiring geologic features, many of which are located in and near national parks. I had begun my quest to document and preserve the earth.

A couple years after graduating and excited for my first road trip after moving back west, I spontaneously grabbed the old film camera on my way out the door and picked up a few rolls of film from the drug store. It may seem risky to shoot with a camera that might not even work but it felt like a lighthearted, hopeful experiment. I was excited about the possibilities and to just be shooting landscapes. It was the first time I shot in a meaningful way and through this process, I was falling in love with shooting and playing with film.

Seeing those first scans from the Utah desert with all of their rich colors, light leaks and the softness that is unique to film, I knew this was it. Since then, we have been on many incredible trips and captured tons of landscapes in the west. In 2022, I was able to start my business, Meander, to share my art with the world. Meander reflects my personal and artistic philosophy and allows me to connect to ideas larger than myself. It encompasses my vision as an artist, and also speaks to the collective experience of intentionality and exploration.

Your dedication to film in a digital world is inspiring. Can you tell us about your process?

Film lets me collaborate with my tools and environment in a way that I just don’t get with digital. Utilizing different film stocks and camera settings helps me achieve the particular mood and color I’m looking for. Time of day, lighting situation, and color properties are a few of the qualities that I consider when choosing a film stock. Loading and winding the film, changing settings by turning knobs and clicking dials, and the shutter itself, all give a very tactile experience.

Then looking through my camera, I can connect with the spirit of the land and watch the changes in light from moment to moment. The intentionality of using film slows me down, brings me back to myself, and I become a part of it. It feels like a moving meditation. I think for most of us, stepping back into a time before constant screen-connection, brings relief and comfort. We’re overstimulated and our minds and souls are undernourished. Now more than ever, we need to step toward intentional connection whether that is through art, community, or time in nature.

You often take risks with your images, using double exposures and other techniques. Many of your images have a deep nostalgic and vintage aesthetic. Is this intentional?

Experimentation is the soul of my process. Film can be pretty reliable after you learn how your tools behave, but there is still always an element of unpredictability. With my double exposures, sometimes I’m seeking symmetry, to shake up stagnation, or to get a different angle when a traditional landscape doesn’t fit. Other times, it happens by accident.

I am by no means a technical wizard so having a looser grasp on that aspect helps me think outside of the box. I love to evoke nostalgia and dreaminess with my work. The softness and color of film really brings me back and I think I share that feeling with others who grew up looking at film photos.

How do you find your landscapes? Are you deliberate with shot scouting or are you a “pull the car over and shoot” kind of photographer?

My approach to location scouting is pretty organic. I’ll usually pick a general location and just explore with little agenda. Before a trip, I’ll research some spots to check out but mostly let the weather and light guide my direction. My partner, who lovingly tells everyone she’s my “getaway driver,” is excellent at quick pull offs when I see something that catches my eye. In a more drastic sense, we have also completely altered the itinerary midway through a trip, though this usually turns our experience around in the best way. Keeping it loose allows for surprises and I welcome that as part of the process.

You are rooted in the local art scene. Who are you inspired by?

I’m so lucky to work with and alongside some incredibly talented artists both in my work as a fine art printmaker and in the local art markets. I’m so moved by my friend Alyson Khan, an abstract painter whose work is deeply inspired and stunningly beautiful. I’m also loving the colorful and whimsical art of Miriam Dubinsky, whose printmaking work always puts a smile on my face.

It has been so nourishing to connect with so many brilliant artists through local art markets, to see familiar faces at the booth, and to make new friends through sharing my work. We help each other grow, share knowledge and experiences, it feels easy and non-competitive and makes me excited to keep showing up. Special shout out and gratitude to the queer community, who is outstandingly supportive. Unbelievably mind-blowingly supportive.

Can you give us a mental tour of your studio?

My studio starts outside, usually far from home. After the trip, I send the film to a professional lab for development, wait on the edge of my seat for scans to arrive, and then celebrate! At home, my post-editing process is very minimal. Then at the print shop, I organize the layout, test out proofs and revise, and finally make the prints or stretch on canvas. It’s quite a journey from creation to tangible art, but this mirrors my process in many ways.

What is spinning on your record player?

I picked up June West’s album on vinyl during our recent stay in Tucson and have been playing it on repeat since we’ve been home. We first listened to it at our hotel and it brings me right back to the desert. Her music is folksy, warm, and intimate; so inspirational.

What can we expect from you in the future?

Next on the horizon for Meander: Definitely more light leak techniques and multiple exposures! Next year, I’m collaborating with my friend and talented printmaker, Holly Garlow, to bring film photography and block printing together for a limited run of prints. I’m also sharing more about my travels and bringing people along through storytelling, both written and with video.

Thank you so much for your art, Kristen. Find more of her stunning work at meanderlands.com or in person at the Firefly Handmade Holiday Market on Old South Gaylord St. Dec. 9 + 10!