Long-term project

A 19-Metre Tree Divided into 7 Equal Volumes

The exact geometry of a tree that ceases to remain exact over time.

Period2015–ongoing
MediumFelled tree, measurements, 3D model, photography and ongoing observation
3D modelDaniel Isus
PhotographyPaula Artés, Roberto Ruiz, Pep Vidal, Juan Baraja; documentation by Latitudes / CAPC, ADN Galeria and Fundación Cerezales
ExhibitionsADN Galeria, Barcelona (2015); CAPC, Bordeaux (2017–2018); Fundación Cerezales, León (2019)
Other locationsLlessui; La Garrotxa; ADN Galeria storage; Fundación Cerezales outdoor site
CuratorsLatitudes (CAPC); Jorge Blasco Gallardo (Mesuras)
CollaborationsLinda Valdés; Alfredo Puente (Fundación Cerezales)
CollectionFundación Cerezales Antonino y Cinia
A 19-Metre Tree Divided into 7 Equal Volumes — ADN Galeria

I came across a tree in Llessui that had been felled because it was in danger of falling onto a family home. Its complex structure fascinated me: the trunk branched repeatedly into a geometry that made its overall volume difficult to imagine. I wondered whether it would be possible to know the tree well enough to divide it into seven parts of precisely equal volume.

A friend and I spent a week measuring and labelling its branches, recording which ones we had already measured. We then used the data to construct a three-dimensional model. A computational calculation determined where the tree should be cut to produce seven equal volumes. The work was first exhibited at ADN Galeria, after which the pieces embarked on a physical journey in which time, transport, humidity and weather gradually altered the apparent precision of the original calculation.

What began as a geometric problem became a record of the limits of measurement: the seven volumes were equal only at a particular moment in time.

Project stages

1. Llessui — Measuring the tree (2015)

Once it had been felled for safety reasons, the tree became an object of study. We spent a week measuring and identifying branches, building a geometric model from which the volumes could be calculated.

Photographs: Paula Artés
1. Llessui — Measuring the tree (2015)1. Llessui — Measuring the tree (2015)Llessui — tree measurement and cutting processLlessui — tree measurement and cutting process

2. ADN Galeria — Seven equal volumes (2015)

The seven parts were first presented in Trees, Treelines and Global Patterns, at ADN Galeria (Barcelona). The division did not follow visual criteria: the cuts were determined by a three-dimensional volume calculation.

Photographs: Roberto Ruiz
2. ADN Galeria — Seven equal volumes (2015)2. ADN Galeria — Seven equal volumes (2015)2. ADN Galeria — Seven equal volumes (2015)

3. La Garrotxa — Back to the landscape (October 2016)

Following a proposal from Linda Valdés, the tree was placed alongside another project taking place in the mountains of La Garrotxa. During this period, the seven parts returned to an outdoor setting.

Photographs: Pep Vidal
3. La Garrotxa — Back to the landscape (October 2016)3. La Garrotxa — Back to the landscape (October 2016)3. La Garrotxa — Back to the landscape (October 2016)3. La Garrotxa — Back to the landscape (October 2016)3. La Garrotxa — Back to the landscape (October 2016)3. La Garrotxa — Back to the landscape (October 2016)3. La Garrotxa — Back to the landscape (October 2016)3. La Garrotxa — Back to the landscape (October 2016)

4. CAPC, Bordeaux — The Matter of Matter (2017–2018)

The work was presented in 4.543 billion. The Matter of Matter at CAPC Musée d’art contemporain de Bordeaux, curated by Latitudes (Max Andrews and Mariana Cánepa Luna), from 29 June 2017 to 7 January 2018.

Photographs: Latitudes / CAPC (documentary image)

Latitudes / CAPC ↗

4. CAPC, Bordeaux — The Matter of Matter (2017–2018)

5. ADN storage — A period of waiting

After Bordeaux, the fragments spent some time in ADN Galeria’s storage space. The tree continued its material journey even while out of public view.

Photographs: ADN Galeria documentation
5. ADN storage — A period of waiting5. ADN storage — A period of waiting

6. Fundación Cerezales — Mesuras (2019)

The work appeared in Mesuras at Fundación Cerezales Antonino y Cinia, curated by Jorge Blasco Gallardo (28 July – 17 November 2019). There I realised that the seven volumes were no longer equal: environmental and material changes had altered the original measurements.

Photographs: Juan Baraja (installation views); Fundación Cerezales

Mesuras — Fundación Cerezales ↗

6. Fundación Cerezales — Mesuras (2019)6. Fundación Cerezales — Mesuras (2019)

7. Cerezales — Disintegration and remeasurement (2019–ongoing)

In dialogue with Alfredo Puente, curator at Fundación Cerezales Antonino y Cinia, the foundation proposed acquiring the work and placing the seven fragments outdoors, allowing them to continue changing and gradually disintegrating. As part of the acquisition agreement, I will return to measure all seven parts three times over the course of my life; I have already completed the first measurement. Photographs received across the seasons document the effects of weather and the passage of time.

Photographs: Fundación Cerezales documentation
Fragments of the tree in the Cerezales landscape7. Cerezales — Disintegration and remeasurement (2019–ongoing)Measuring the fragments of the tree at CerezalesLong view of the tree fragments and landscape at Cerezales

Documentation and credits

Locations and presentations: Llessui (initial measurements, 2015); ADN Galeria, Barcelona — Trees, Treelines and Global Patterns (2015); La Garrotxa (2016, facilitated by Linda Valdés); CAPC Musée d’art contemporain de Bordeaux — 4.543 billion. The Matter of Matter (2017–2018), curated by Latitudes (Max Andrews and Mariana Cánepa Luna); ADN Galeria storage; Fundación Cerezales Antonino y Cinia — Mesuras (2019), curated by Jorge Blasco Gallardo; and the outdoor installation at Cerezales (2019–ongoing), in dialogue with Alfredo Puente.

Photography: Paula Artés (Llessui); Roberto Ruiz (ADN Galeria); Pep Vidal (La Garrotxa); Latitudes / CAPC documentation (Bordeaux); ADN Galeria documentation (storage); Juan Baraja (installation photographs of Mesuras specifically identified as his in the supplied original files); Fundación Cerezales documentation (ongoing outdoor monitoring).

3D model: Daniel Isus.