Cage, 70x50cm, Sheep wool and metal grid, 2022

Cage is an installation consisting of a metal cage and sheep‘s wool, made in 2022, measures 50x70cm and explores sheep-human power dynamics.
The installation addresses the theme of sheep in their environments, particularly within the context of captivity. Rather than depicting explicit suffering, as is often seen in activist imagery, Cage seeks to provoke reflection through more subtle means. The combination of the rigid, industrial metal structure and the organic, raw sheep wool evokes the presence of a trapped animal but without displaying its physical body. The contrast between these materials suggests confinement, encouraging the viewer to contemplate the realities of the lives of domesticated sheep.
Also, Cage investigates the materiality of its components, engaging the viewer’s senses other-than the visual. The juxtaposition of metal and wool accentuates their distinct properties and compels the recipient to physical interaction. The strong, natural scent of the wool further enhances the sensory experience. Additionally, the project explores how art can reference the presence of a sheep, not through direct representation, but through the evocative power of materiality.

The creative process
Cage represents an effort to work more extensively with installation art and material experimentation. The project aligns with my interest in exploring the sensory capacities of materials and investigating how they can communicate meaning with minimal human intervention.
The initial concept centered on building a cage. Restricted by the fact of not wanting to buy metal, there was a long period of searching for the right material to construct the cage. Eventually, I found a metal structure that suited the purpose, but was quite small. The original idea was to build a large cage that a human could enter, but then, adapting the idea to available materials became an integral part of the creative process. The decision to fill the cage with raw sheep wool followed naturally. In its barely manipulated form, one can still feel the shearing process and the density of the sheep‘s coat. This quality fascinated me and informed the choice to place the raw wool in the cage as a reference to the animal‘s body.
The artwork engages senses like olfactory and the tactile, besides the visual. I try to respond to the characteristics of the material, intervening as little as possible questioning how much artistic manipulation is necessary for something to be recognized as an artwork. Rather than imposing a rigid concept onto the materials, I sought to remain responsive to their inherent properties.