Friedrich Martens' "Voyage into Spitzberg and Greenland," a 17th-century travelogue documenting an Arctic expedition, serves as a critical lens through which to interrogate the very nature of historical documentation. This project emerges from a deep engagement with the archive—not as a neutral repository of facts, but as a contested space where power, perspective, and perception collide. By employing Saidiya Hartman's theory of critical fabulation, the work challenges the colonial gaze embedded in Martens' narrative, exposing the underlying mechanisms of erasure and control that shape historical storytelling. The research process itself became a profound meditation on the ethics of representation. Each archival exploration raised uncomfortable questions: Who has the right to tell these stories? How do we approach historical narratives without perpetuating the very extractive practices we seek to critique? Using the translucent medium of vellum, the project materializes these tensions, creating a visual metaphor for the layered, complex nature of historical interpretation. The transparency becomes a methodology—a way to simultaneously reveal and question, to make visible the margins and interstices of a narrative that once claimed absolute authority. At its core, this work is an act of radical reimagination. It seeks to deconstruct the colonial archive not through wholesale rejection, but through a feminist approach of empathy, care, and speculative storytelling. By carefully examining Martens' language, imagery, and underlying assumptions, the project opens up space for the voices that were systematically silenced—indigenous narratives, environmental relationships, and alternative ways of knowing that existed beyond the narrow European perspective of exploration and conquest.