This site-specific land work, created with cedar dust from dead trees on Anishinaabeg territory, forms a decolonial bridge between the memory of material and the identity of place. A monumental rebel figure, drawn from my visual lexicon of archaic symbols and rebel motifs, becomes both map and body—a cedar letter to non-human spirits. Beside it, Who Owns the Ownership? confronts colonial domestication and the lingering dust of control, asking whether life—human or more-than-human—can ever be owned.