Before leaving her home country, Quinn had never thought about protecting a single tree. In Cambridge they encountered a group wrapping century-old trees in coloured cloth to prevent their removal, sparking questions about suspicion, cost, and the ease of destruction. Out of this experience grew an artwork in which Quinn printed and attached posters to the trees as a gesture of solidarity and resistance.

Though initial attempts to contact the activists went unanswered, the act transformed Quinn’s sense of self: from a “small person” to an artist able to intervene. Over time the artist began to feel the trees breathing back, as if they had come alive. Eventually, the planned felling of all three trees was cancelled, leaving the work as both witness and catalyst to a fragile reprieve.