The work continues the line of ‘Geometric reading’ of natural space: the shape and tectonics of a fallen tree's fracture are emphasised. Colour acts as a tool to focus the gaze and create a new context, where every detail - from the texture of the wood to the shape of the snow under the trunk - is given additional artistic emphasis. The contrasting colours emphasise the architecture of the broken trunk. We see not just a ‘fallen tree’ but a sculptural form with its lines and volumes.

The white snow and dark trees act as a muted background, so the rich bright colours seem even more ‘foreign’ and stand out clearly in the space. Dyed sand settles on the surface, creating soft coloured reflections on white, which enhances the effect of abstract ‘filling’, extending the boundaries of the colour spot beyond the tree itself.

Instead of dissolving into the overall landscape, the fallen trunk becomes the centre of the composition. This contrasting technique encourages us to rethink the way we usually see something that is usually perceived as part of ‘outmoded nature’ but suddenly turns out to be a special ‘labelled’ object, worthy of attention in its own right.

The contrasting colours create a sense of unreality, as if an abnormal phenomenon has occurred - this ‘surreal’ intrusion of colour into a monochrome winter environment draws attention to the way in which an intervention that ‘disrupts’ a familiar landscape prompts a different reading of it.