This work centers on the body’s natural morphing on site. With wind, gravity, and the incline actively involved, the body improvises in direct resonance with the environment. The bodily state is not pre-planned; it gradually takes form through continuous triggers and responses—sliding from a recognizably human posture into the stillness and ground-hugging quality of a stone, and further toward an animal-like, instinct-driven mode of action. A long braid of hair runs through the work as a bodily extension and tether: it participates in the movement while shaping a process of binding and release.

The action begins in a “human” mode. I handle my hair in an everyday manner —combing, separating, and braiding — yet it keeps tangling, forcing the sequence to be interrupted and restarted. Gradually the body sinks, tightens, and becomes still, pressed close to the surface, almost indistinguishable from a stone on the ridge. Movement then develops slowly: the spine arches, the center of gravity lowers, and breath and muscular tension register shifts in wind and the resistance of the ground.

After rising, I cover the face with black clothing, erasing legible facial features. Vision is fully blocked, and in darkness the action shifts toward a more instinctive orientation: sensing changes in wind and the friction of the terrain, and responding through the body. The braid is repeatedly worked—dragged, tightened, gripped, coiled, and released—remaining closely linked to the movement. Tension gradually accumulates through the torso and arms, and the braid is pulled free through sustained bodily force.

Towards the end, the body returns to the ground and moves away close to the surface in a more animal-like form. When the action ends, the black fabric and the braid remain on the ridge, leaving a physical trace on site.