The project draws inspiration from the natural world, from trees, roots and their influence on the world of thought.
As a model for culture, the rhizome resists the organizational structure of the root-tree system which charts causality along chronological lines and looks for the originary source of “things” and looks towards the pinnacle or conclusion of those “things.” A rhizome, on the other hand, “ceaselessly established connections between semiotic chains, organizations of power, and circumstances relative to the arts, sciences, and social struggles”. Rather than narrativize history and culture, the rhizome presents history and culture as a map or wide array of attractions and influences with no specific origin or genesis, for a “rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo”. The planar movement of the rhizome resists chronology and organization, instead favoring a nomadic system of growth and propagation.
In this model, culture spreads like the surface of a body of water, spreading towards available spaces or trickling downwards towards new spaces through fissures and gaps, eroding what is in its way. The surface can be interrupted and moved, but these disturbances leave no trace, as the water is charged with pressure and potential to always seek its equilibrium, and thereby establish smooth space.
In Trees Project sounds come from dream and angular riffs and goes in search of deep currents that are to be carried on the surface, at least for a few instants. Eventually, music develops and cloisters itself in the paper, then it relieves from a potential excess of linearity, in order to allow connections in any direction.