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“CLEARING”

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In a quiet pocket of Zurich’s Limattal forest, CLEARING stands as both art and encounter, revealing the hidden rhythms of the woodland. Created by Swiss artist Michel Comte in collaboration with Japanese architect Yuichi Kodai, this multi-part site-specific installation invites visitors to reflect on the evolving life cycles of the forest. Inspired by the motto of the Dietikon Holzkorporation—“A beautiful forest in faithful hands delights the eye and protects the land”—CLEARING responds to the forest as a dynamic entity, perpetually becoming, being, and passing away.

When a tree dies, its branches and living parts fall to the ground, leaving a pocket of cleared space within the canopy. This natural self-clearing allows light to penetrate the forest floor, encouraging the growth of new life. The circular shape of the cleared canopy becomes both a physical and symbolic form in CLEARING, representing the cycles of death and renewal that define the vitality of the forest. “The tree clears itself, creating space for new life to emerge. This occurs regularly, and the artwork gives us a chance to pause and reflect on what this means for our everyday lives and our relationship with the habitats we share with the forest.”

CLEARING, young trees were carefully removed from the forest floor, creating a distinct yet subtle boundary that invites a contemplative distance from the artwork. At the same time, the clearing aligns with Shinto concept of Yorishiro, where sacred natural elements are regarded as sanctuaries for spirits to dwell. This encourages visitors to pause, step back, come closer, and observe, fostering a deeper connection to the understated beauty of the forest and its everyday presence.

At the heart of CLEARING are copper-wrapped trees—both fallen and standing—situated across three locations within the forest. These trees are vessels in the broader sense: they carry and prepare for the next life. As their physical forms weather and change, they nurture new ecosystems, hosting microorganisms, fungi, insects, and other life forms that sustain the forest. The fallen tree reclaims its presence within the landscape, while the standing trees act as vertical markers of continuity and transformation. The copper wrapping temporarily preserves their forms, allowing viewers to appreciate their unique shapes and the natural processes that have brought them to this state.

Over time, the patina of the copper evolves, reflecting the forest’s own cycles. These subtle changes invite visitors to experience the artwork differently with each season and light condition, altering their perception of the forest’s rhythms. By emphasising these transformations, CLEARING becomes a meditation on the balance of permanence and impermanence in nature.

Michel Comte says, “I believe in the transformative power of art, especially when it is shown in unconventional places.”

With this project, CLEARING uses the forest itself as both subject and setting, inviting viewers to reflect on the delicate balance between human presence and natural cycles. The three locations, marked by copper-wrapped trees, offer spaces for quiet observation, prompting us to reconsider the beauty and vitality of the everyday landscapes we often overlook. By stepping back, we are offered the chance to see and to recognise the importance of understanding our habitat and the forest.

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