Trees Under Wraps

The idea to wrap live trees in fabric first came to the couple in the 1960s, but it took 32 years to make it a reality. After failing to win over officials in the United States and France, the artists finally received permission to develop Wrapped Trees at the Fondation Beyeler, a museum in Switzerland. The artists created many technical drawings, like the collage above, to carefully plan for the project. The map, fabric sample, and handwritten measurement notations help the artists make arrangements for the site-specific artwork. These details make it easier for officials to understand how it will fit into and affect the landscape. Christo and Jeanne-Claude sold these types of preparatory sketches to fund their projects without outside sponsorship.

The couple first had the idea to wrap live trees in fabric in the 1960s. But officials in the United States and France wouldn’t allow them to do it. More than 30 years later, the artists received permission to develop Wrapped Trees at a  museum in Switzerland. They created preparatory sketches, like the one above, to help them plan. The sketch, map, fabric sample, and notes helped officials learn how the work would safely fit into the landscape.

In 1998, the artists, along with fabric makers, tree pruners, climbers, and construction workers, brought the sketches for Wrapped Trees to life. The team carefully measured 178 trees to specifically tailor fabric patterns for each tree. Branches defined the shapes and forms of the installation by pushing the fabric outward. It was important to Christo and Jeanne-Claude that the mesh fabric covering the trees be translucent. They wanted sunlight to filter through it, allowing every branch to be visible, as in the photograph above.

Environmental groups and government officials often oppose Christo and Jeanne-Claude’s projects because of concerns about damaging the landscapes where they are installed. “The work of art involves everything,” Christo explained. “People who dislike or like the project, they are part of the work of art.” The artists sometimes hired environmental and wildlife experts to help with the planning and to ensure no damage was done to the natural landscape.

In 1998, the artists brought the sketches for Wrapped Trees to life. They had the help of fabric makers, tree pruners, climbers, and construction workers. The team measured 178 trees. Then they made fabric patterns. The wrapped branches push the fabric outward. Christo and Jeanne-Claude used translucent mesh fabric. Light filtered through the fabric, making the branches visible, like in the middle photo above.

Some environmental groups and government officials worried that Christo and Jeanne-Claude’s projects would damage landscapes. The artists sometimes hired environmental experts to help them research and plan. But they still expected some complaints. “The work of art involves everything,” explained Christo. “People who dislike or like the project, they are part of the work of art.”

Ever-changing light and weather altered Wrapped Trees. To fully experience the temporary installation, viewers had to travel to the site. At times, light shone behind the branches’ dark silhouettes. At other times, the fabric reflected light, emphasizing each tree's contours. Snow dusting the fabric-covered trees in white was an unexpected delight for the artists. “I never planned that there would be a snow,” Christo said. “It created a completely new vision of the project with the snow.”

Wrapped Trees was a site-specific artwork. To experience it, viewers traveled to the museum. Changing light and weather altered the work’s appearance. When the sun was behind the trees, viewers saw the branches’ dark silhouettes. At other times, the fabric reflected light, showing the trees’ shapes. The artists were surprised when it snowed on the work. “I never planned that there would be a snow,” said Christo. “It created a completely new vision of the project with the snow.”