THREE POINTS OF VIEW

My intervention consisted of an experimental woven structure suspended between trees, using tensioned fabric lines as its primary support system. The work was situated along a recently activated mountain path, an area not yet familiar to visitors. This context informed the installation’s function as both a spatial threshold and an invitation to reorient one’s movement through the landscape. The climatic conditions of the rainy season—persistent fog, rain, and low temperatures—became integral to the working process, shaping both the material behavior of the textiles and the embodied experience of construction.

​

Environmental conditions played a critical role in mediating interspecies encounters. Continuous rainfall diminished human scent, allowing wildlife to approach without alarm. Once the second and third layers of the woven structure were completed, the installation operated at a height of approximately five to seven meters above ground. Suspended between trees, the textile surface absorbed sound, rendering human movement nearly silent. This acoustic transformation enabled moments of proximity with local fauna: monkeys moving beneath the structure and Kamashika deer approaching from the forest canopy, seemingly drawn by curiosity rather than disturbance.

​

The installation was conceived as a multi-level, climbable environment, allowing visitors to engage the forest from three distinct elevations. By shifting the body off the ground and into the vertical strata of the forest, the work disrupted habitual modes of perception and encouraged a heightened awareness of spatial depth, sound, and coexistence. Rather than imposing a fixed viewpoint, the woven structure functioned as an intermediary architecture—one that facilitated immersion, vulnerability, and reciprocal presence within the forest ecosystem.

​​

This installation and its construction methods are original artistic expressions developed by Lua Rivera as part of the Rivera Rhizomatic Construction Method.