Since 2015, the Kingdom Series has unfolded as a series of minimal interventions across Europe—quiet gestures made by clearing organic material from the ground by hand, without tools, and always within the limits of the body. Returning to this work from Madrid in 2026, as urban ecologies fray under climate stress and sprawl, the project’s understated clarity gains new traction. These actions, made in forests, meadows, and post-natural spaces, resist both spectacle and monumentality. Instead, they pose a basic question: what changes when we simply remove, rather than build or represent? These subtractions are not symbols, but tools—ways of making the ground momentarily visible again. In a world saturated with accumulation, their refusal to add becomes a form of resistance. The urgency now lies not in creating new forms, but in sensing what's already there—through the simplest of acts. Each piece in the series follows a specific, bodily method. A form—circle, triangle, rhomboid—is cleared by hand using only the reach of the arm or the span of a walk. Materials are not relocated, only pushed aside. No instruments are used. The surface is lightly edited: leaves, ivy, pine needles, soil. The results are temporary, quickly reclaimed by weather, fungi, or wind. They exist only through photographic documentation, often from above or at foot level. These gestures recall early land-based practices like those of Richard Long or Gordon Matta-Clark, yet diverge by operating without permanence, authorship, or infrastructure. Each clearing is a calibration—testing surface, time, and gesture. By subtracting, they draw attention to what's missing, to what's usually unseen. They don’t claim space, they borrow it, momentarily.
