Counterstudy brings together multiple notions of study by confronting the tradition of the artistic preparatory drawing with scientific investigation. A tree, rendered through an earlier observational study, becomes the site of an experimental hybridization.

Forms inspired by histological imagery are introduced into the composition and executed using histological pigments—here, methylene blue—traditionally employed in scientific microscopy. These organic, cellular structures disrupt and infiltrate the drawn landscape, blurring the boundary between representation and analysis.

By using scientific materials to produce non-scientific images, the work questions systems of knowledge, modes of observation, and the authority of scientific visualization. The drawing oscillates between intuition and protocol, fiction and measurement, proposing the study itself as a space of speculation rather than certainty.