“Fields” shifts the notion of the color field away from its postwar modernist tradition in abstract painting and toward a material and territorial condition. Composed of bioplastics derived from the bovine industry, the surfaces are themselves the result of processes of extraction, conversion, and transformation. The “field” thus becomes both image and territory: a site in which the transformation of ecosystems into landscapes of extraction is materially inscribed. What initially appears as abstraction becomes radically concrete, bound to animal bodies, industrial processes, and the economies that sustain them. The work presents this animal-industrial origin as a charged residue, inseparable from the system from which it emerges.