This piece started six years ago, when I was thinking about how viewership—the physical presence of eyeballs (connected to a processing brain) looking in a direction— activates a work of art. I wanted to figure out how to push that idea as far as possible— so that a painting could only “exist”, or at least be seen, unless certain circumstances of a viewer standing in front of it. This painting is very difficult to photograph. In order to see it properly, you would’ve “had to be there”— casting a shadow in spite of the direct light source that illuminated the acrylic paint trees of varying opacities. A tree is in the act of falling, to reference the age-old question.