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Ah, indeed, this artwork is genius, and Paul's interpretation skilfully reveals one of its many facets. The installation is indeed a powerful critique, commendable in its readability from so many perspectives. Observe the contextual juxtaposition of the straight-lined fence created from wood that has long since ceased to live. This reveals the imposition of artificiality on the natural landscape and enables also a feminist evaluation of the dominance of man over the natural - reflected powerfully also in the brilliant blue of the focal cylinder in comparison with the paler, perhaps thereby sick and sadder blue of the sky behind, to which the cylinder is disdainfully pointing.
However, such a critique from a staunchly structural perspective may be also a little passé, and herein lies the brilliance of the work. For it is also firmly postmodern, as the creation reveals an intrinsic playfulness.
Regard the amusing performances of the viewer, who has to bend, duck, bow, and even turn round and double over to the upsidedown view between his legs of the installation, before the symbolism of the characters placed upon the focal cylinder may be decoded into meaningful significance. Here too is an echo of the former critique, in that the decoded symbols which may be read as "crest" may also conjure up connotations of manhood, which the viewer's final position renders him in an ideal situation to observe. Indeed, as the appearance of the cylinder is one which may be colloquially known as "beer can" the choreography of the installation also considers the correlationary effects of combining brewer with manhood.
Here too is a playfulness with words. The living tree has fruited a lager container and thus may be redefined as a lagertree. This rhyming with the synonym for the smallest room reminds us all of our physical frailties, for the consumption of liquid has an invariable result. Indeed, these frailties are underlined in that the position noted above for ideal viewing of the installation, the down-under, is also ideal for the chunder. Perhaps, after all, the essential message of this artwork is that nature will always triumph. Nevertheless, it is possible to read too deeply into such works. An alternative interpretation could be that as killed and dissected tree, the fence is connotative of deadwood; perhaps therefore the entire work is a self-portrait and a reflective evocation of the artist.