In “Umbra Arborum” (The Shadow of the Trees), the trees are conceived as dynamic statues whose morphology mutates and evolves in response to environmental and temporal factors. This condition confers upon them a unique artistic quality: their capacity to embody processes of continuous transformation and to engage in dialogue with the surrounding space, weaving invisible relationships with other beings. As living art, the trees defy conventional categories of permanence and authorship; their materialization transcends the physical: they bear witness to an aesthetic based on interdependence, becoming, and respectful integration with the vital cycles of the territory.