The work originates from field-collected images of fallen trees—fractured branches, willow leaves cascading toward the ground, and the exposed cross-section of a heavy trunk. These partial residues are extracted from their original context and recomposed on paper, forming a provisional spatial sequence that suggests the linear posture of a tree once collapsed across the forest floor. The drawing operates less as an illustration and more as a reconstruction: a re-mapping of dispersed fragments into a temporary archive generated through observation, repetition, and reorganization.

Reinstalled within the narrow architecture of an indoor corridor, the once-horizontal tree is re-uprighted, not as a literal restoration but as a material hypothesis. The spatial displacement emphasizes how traces gathered from the field—organic debris, marks of rupture, and directional flows—can be reorganized into a system that behaves like an experimental archive. Here the archive is not a stable repository, but a processual structure assembled from residues, constantly reshaped by acts of transfer, translation, and spatial re-scripting.

In this configuration, the work shifts away from documentation as preservation and toward documentation as a generative method: the fallen tree becomes a site where narrative, spatial memory, and material evidence are continually renegotiated.