This article examines Joni Mitchell’s landscape painting of the 1990s and early 2000s as a sustained engagement with place and recollection. Through close visual analysis of Glacier Lake (1993), Morning B.C. (1993), an untitled mountain landscape (1994), 40 Below 0 (1995), Edmonton (1996), and two untitled works from 2002, the article argues that water functions not simply as recurring subject matter but as a formal and mnemonic principle. It structures pictorial space, mediates relations between near and far, and transforms recognisable settings into scenes in which temporal distance and sensory recollection become visible. The discussion brings phenomenology, memory studies, landscape theory and intermediality into dialogue with close visual analysis and contextual evidence from Mitchell’s interviews and archive. It treats the paintings as autonomous visual works, using musical contexts as comparative rather than causal evidence. The article proposes that Mitchell’s paintings preserve the experience of having encountered a place rather than the place itself..

Keywords: Joni Mitchell, painting, landscape, memory, waterscape, phenomenology, intermediality, Canadian landscape, visual music.