This practice-led research furthers Shipsides and Beggs (SBP) collaborative methodology of developing a motif to unearth the rich significance of anarchist philosophies as they are wrought through early modernist art and brought into popular cultural consciousness in relation to the Accolade Tree motif. In relation to anarchist concepts, through audio interaction within an experimental theatrical exhibition setting, the research also seeks to enable an experience within which the audience is an active component in the construction of aesthetic meaning. An exhibition of research consisting of bespoke constructed interactive audio-sculptural installation, sculptures, wall-drawing, print and interactive electronic audio. Alongside the exhibition was a performance, artist-talk/conference and a hosting of the Decimation in A-flat and D-minor vinyl record and live piano recital as complementary research. The research develops the motif enabling its agency to bring together multilectal references and understandings, drawing from art history, popular culture and philosophy. These include Reclus’ and Kropotkin’s anarchist ecological geographies; Pissarro’s and Cezanne’s tree paintings; Bowie’s enigmatic hand gestures; Chaplin’s absurdist strategies in Shoulder Arms. These are themes explored in The Anarchy Tree artist-talk. The interactive Accolade Tree audio-sculptural work centrally acts as a conceptual or theatrical ‘glade’ setting. The motif is also graphically developed as a series of screen prints, T-shirts and woven badges in order to extend the dissemination under the dynamic of collectivism. SBP’s long standing use of the phrase “Still Not Out of The Woods” (often used to describe still being in a personal or collective predicament) is further expanded as an interactive sculptural installation with the letters built as cajon seat-drum instruments, set around the theatrical space of the ‘glade’. Sheepish Wolf (sculpture), Woodstock (wooden bombs), the vinyl record and Twisted-Wire (wall drawing) augment the exhibition as a way to expand the historical and mythological narrative potential of the ‘glade’.