This essay is a personal exploration of my artistic practice in relation to my bachelors exhibition “Olivlunden”, where material memory, trauma and cultural erasure is embodied in a series of works made out of charcoal. The essay contemplates the significance of focusing on minor details as a method to narrate one's work, but more importantly as a coping mechanism amid a landscape of violence. In the essay, charcoal as a medium to narrate arson attacks on olive groves is discussed in the framework of de-linking, which at its core involves a deliberate disengagement from the structures and systems that perpetuate colonial legacies. The essay will discuss the intentionality behind choosing materials and the symbolic meanings that materials carry for my artistic practice. Furthermore, the essay explores how art can be a form of resistance and a means to challenge dominant narratives rooted in Western imperialism. The essay weaves together microhistory and materiality, arguing that the minor details hold the capacity to activate otherness and bring marginalized stories into the narrative. The body of work that was presented for the exhibition are discussed as pieces of landscape art that hold the possibility to offer a nuanced understanding of resilience, adaptation and symbiosis at both the smallest and grandest scales.