I very much enjoy such conceptual photographic efforts and the precipitant discussions. To me, this is where photography merges with the more resonant expressionistic art forms such as painting and sculpture.
I like Alain's tonal adjustment, although purely because it lifts the image out of pure (and a bit dull) earth tones to open a wider palette into the blue/green part of the spectrum. That the white-balancing on the tree trunks makes them distinguishable might be intersting for some, or on a larger print.
If you plan to earnestly pursue this type of photography, Jarmo, one small point I would offer for your consideration is that of angular composition. Remember that in (nearly) any 2D composition shapes are the first characteristic that viewers will identify, even a fraction of a second before colors. In this image the shapes are lines that are placed on a perilous corner-to-corner diagonal. That is one of the most powerful devices a 2D artist can deploy. Such linear configurations are often applied to convey dynamism and high-energy. This is much to the contrary of the contemplative theme you suggest, in which less acute lines or more curvilinear forms (which suggest continuity rather than linear terminality) might normally be used.
Again, if you're genuinely intersted in pursuing such conceptual images (versus just plucking a casual snap or two for such ideas) experiment with shape and tonality. Reflection photography makes such experimentation very easy and quite a bit of fun.