HOLY COW (2017)
https://www.tomherck.com/holy-cow-2017
"Holy Cow: An Artistic Endeavor by Tom Herck Explores Societal Complexities"
The autonomous project titled "Holy Cow," conceived by artist Tom Herck, stands as a commanding piece of artistic expression showcased within the confines of the Kuttekoven church located in Belgium. Notably, the conception of this work at the age of 33 is redolent of the age at which Jesus Christ was crucified, a subtle yet potent convergence of symbolism.
Central to the installation is a voluminous basin, measuring 81 square meters, brimming with a mixture of water, powdered substances, and milk, totaling 5000 liters. Occupying the expanse, a life-sized sculpture of a cow, cast from the form of a deceased bovine, weighs in at 200 kilograms. The artist's deliberate choice to employ the body of a deceased cow as a foundational reference point underscores his pragmatic approach to anatomical accuracy and conceptualization. This decision is underscored by the paucity of visual references depicting a crucified cow, rendering the work's composition and thematic direction distinctly unique.
The quintessential focal point resides in the cow's suspension upon an 18-foot cross, weighing 500 pounds, eliciting the impression of an inherent struggle. The animal's splayed limbs and protruding chest evoke an evocative parallel to the imagery of Christ's heart in religious iconography, imbuing the spectacle with a compelling sense of drama. The cow's gaze directed skyward on its right flank invokes visual allusions to depictions of Christ or his gaze directed towards Mary Magdalene. To ground his artistic pursuit in a comprehensive understanding, Herck conducted on-site research within dairy and meat farms, intimately acquainting himself with the origins of his sustenance.
The visual identity of 'Holy Cow' is emblematic of Tom Herck's acerbic commentary on contemporary paradigms of food production and distribution. As opposed to the customary cartoonish depictions of cows on dairy and meat product labels, Herck's emblematic logo portrays a lifelike rendition of the creature. This emblem serves as a prelude to the overarching thematic exploration undertaken within the 'Holy Cow' project—a candid exposition of societal flaws bereft of didacticism.
Herck's inaugural visit to the Kuttekoven church engendered a visceral connection to its antiquated grandeur. This emotional engagement engendered the conception of what he dubs the 'Holy Cow-effect,' a narrative ethos inspired by the church's gradual decline juxtaposed against the robust vitality of grazing cattle in its vicinity. The artist thus orchestrated an innovative association between the imposing presence of cows, a ubiquitous sight in the region of Haspengouw wherein he hails from, and the architectural grandeur of churches that often remain unappreciated. The seemingly incongruous placement of the pristine white sculpture within the church's waning splendor is emblematic of Herck's meticulous contemplation of aesthetic and thematic coherence.
In a departure from his prior exhibitions wherein decay was embodied intrinsically within the artwork, 'Holy Cow' orchestrates a reverse dynamic. The immaculate white expanse of the cow's form serves as a striking juxtaposition against the backdrop of the church's gradual dilapidation, encapsulating an overarching metaphorical framework of dissolution.
The installation's thematic intricacies extend towards a dual trajectory of critique. On one hand, it articulates a trenchant commentary on the wastage endemic to the food and meat industry, as indicated by the monumental milk tub and the crucified cow. Concurrently, it underscores the lamentable decline of historically revered religious spaces, akin to the church wherein it resides. This amalgamation of critiques converges into a poignant and thought-provoking opus.
A secondary layer of symbolism is enacted through the milk contained within the installation, an entity subject to gradual evaporation, resulting in residual stains mirroring the hues of the church's environment. This symbolism alludes to the transience inherent in all things, evidenced through the narrative trajectory of the church and the gradual erosion of purity and nutritional value embodied by the diminishing milk.
Ultimately, the legacy of 'Holy Cow' transcends its immediate physicality, encapsulated by the tattooing of the cow's identification number as a tribute by both the artist and the taxidermist involved. This legacy endures in varied forms even post-exhibition, as evidenced by the tattooing of the 'Holy Cow' logo on a friend's posterior—a location traditionally utilized for bovine identification. This mélange of symbolism, exploration, and evocative impact coalesce into a multifaceted masterpiece, serving as a testament to the boundless potential of contemporary artistic endeavors.
