Two stills from one of the videos documenting the Trinity Nuclear Test (July 16, 1945, USA) are taken as a reference. In each of these two paintings, divided into three canvases, a frame from the video documenting the scientific test is recreated. The shock wave of the detonation pushes the treetops from right to left and left to right successively. At the end of both paintings the artist exchanged the central panel of each canvas, thus creating a slight state of documentary anachronism. Through the pictorial process and the idea of alteration, this work reflects on landscape and time.