In this work, the central element is the uprooted root of a fallen tree - an object that usually lies in the forest and does not attract attention, but in this case is transformed into a vivid ‘sculpture’ with the help of a smooth transition of colour zones.

Highlighting the structure of the roots
The multi-coloured sand emphasises the anatomy of the reedbed: all the small roots, mossy growths and earth clods are now ‘read’ more clearly due to the intensity of the colour.

The depth and fracture of the surface become especially visible: where the root system has torn out the soil, one can see almost ‘sculptural’ voids, niches and reliefs.

Multicolour gradation
The transition from blue to violet, then to red and yellow does not look accidental: it visually links the different ‘levels’ of the root and gives the work dynamics - as if each part of the root is ‘responsible’ for its own colour scheme.

This creates the effect that the root is simultaneously united by one ‘flow of colour’ and at the same time divided into separate ‘zones’, each of which has its own character and mood.

Contrast with the natural environment
The autumn forest around is still green and yellow, and the root stands out against its background almost like a fantastic object.

This creates a sense of ‘micro-surrealism’: the natural root, which in nature usually looks brown and dirty, suddenly appears as if it has come from an abstract painting.

The transformation into an ‘art form’
Fallen trees and their roots are often perceived as useless or chaotic. But within this ‘chaos’ there is a beauty and structure to the forms.

Contrasting colours help to reveal the structure of the roots, as if to show the viewer ‘Look at the intricate pattern hiding under our feet!’

Texture and texture
Close-up details show how the colour settles on earth clods, bark, and small twigs. This emphasises the texture of the surface, making it almost painterly in its layering.

The idea of ‘geometric reading’ in the context of roots
We usually talk about the ‘branches’ of a tree looking upwards, but roots also have their own branching, their own architecture. This is a reorientation of the gaze: we now ‘read’ the root system as a complex network of intertwining structures, no less interesting than the crown.
The colour intervention builds a kind of ‘map’ of the roots, from the thickest to the thinnest, helping to trace the logic of growth and branching.

Performative and temporary in nature
Over time, rain, moisture and the natural processes of the forest will begin to wash away the pigment. So nature will take over, returning the root to its familiar appearance.
This temporary ‘emphasis’ gives the viewer the opportunity to see the root system differently for a short period of time, to realise its beauty and complexity, and then return to the natural order of things.

The symbolism of being ‘brought out into the light.’
The roots, which are usually hidden underground, are now open to view, and brightly ‘illuminated’ in colour. This can be read as a metaphor: something internal, usually inaccessible to the eye, suddenly becomes visible and significant.

The contrast of the forest cover and the ‘revealed’ root emphasises the idea that behind any visible layer of nature (or reality) there are often complex structures worthy of study and admiration.

Thus, the work does not simply add colour to the forest landscape - it changes the very perception of the object: the roots become the ‘underside’ of the tree, acquiring the status of the protagonist, and the smooth change of shades enhances the drama of the form. As a result, the viewer sees not a chaotic lump of earth, but a colourful, detailed installation that is organically integrated into the environment and makes the viewer look at the forest and its processes in a new way.