Tattoo Tree (2007–2011) – Metamorphic Trees

In Tattoo Tree, Beatriz Millar reconfigures the tree as a hybrid and symbolic structure. The works are produced as prints on Dibond or Forex panels, combined with crystal plexiglass surfaces engraved with tattoo-like motifs.

Each tree integrates heterogeneous botanical elements: birch combined with agave and edelweiss; palm trees merging with maple leaves and hydrangeas; fern structures intertwined with passion flowers and butterflies; ivy-covered canopies opening into sunflowers; and rose trees referencing the botanical family Rosaceae. These combinations construct composite forms rather than naturalistic representations.

Butterflies—either depicted or engraved—recur as visual elements within the compositions. The tree becomes a site of accumulation and layering, where species, memory, and symbolic reference intersect.

The series does not document nature but rather rearticulates it. The trees function as constructed forms that merge botanical imagery with autobiographical and conceptual associations. Each work operates as a structured synthesis of identity and transformation.