The submission can also be considered for the Representations of Space, Architecture and Conflicts, and Anthropology and Territories categories. This project was realized as part of a year-long Graduate Fellowship at the Headlands Center for the Arts in Sausalito, California. The Art Center is in the Marin Headlands, part of the Golden Gate National Recreation Area. This area was a military base and a defensive outpost for nearly a century against potential sea attacks. During the Cold War between the U.S. and the USSR, it housed one of the Nike Missile Sites, designed to protect the region from a potential nuclear threat. During the military occupation, the natural landscape experienced significant changes. Soldiers built roads, dug tunnels, and relocated rock that had been blasted from its original site. The coastline is scattered with observation posts, bunkers, and batteries, all staring intently into the ocean's vast emptiness, altering the landscape's innocent beauty with tension. The military structures are slowly being overtaken by ivy, cracking and decaying, symbolizing an invisible presence—emblems of an unfulfilled history of conflict. They reveal the hidden trauma of the area, with scars surfacing unexpectedly through the vegetation, undermining the visitor's trust in the visible, alluring beauty; beneath it lies darkness. Through the eyes of animals, nature seems to gaze back at human outsiders—with a direct, unfocused, and unseeing stare, as if looking into the distance—a thousand-yard stare. The term "thousand-yard stare" describes the blank, unfocused gaze seen in individuals who are dissociating due to intense stress or trauma. Initially associated with soldiers exhibiting signs of post-traumatic stress, it has now also come to refer to the distant gaze seen in people under high levels of stress or those with specific mental health conditions. As a citizen of the Russian Federation, Oleg seeks indirect ways to express the personal trauma of being involuntarily connected to the actions of an aggressor state. He also explores the hidden socio-cultural undercurrents embedded in the art residency landscape.