Merel Cremers (1989) is fascinated by animals. Inspired by the diverse roles they have been assigned in society she draws and sculpts narrative, estranging figurines that tend to pop up in our surroundings interrupting a presumed domesticity. On approach the animals express a truth that is reminiscent of a more ingenuous, almost childlike relationship to the world. There’s an apparent fragility about them which evokes a kind of sentiment in the beholder that requests an attitude of very careful, attentive observation towards them. Surprise. It is exactly upon this closer look that a second nature reveals itself and they appear to be not so innocent after all. Nipples lactating, hairballs and droppings everywhere demonstrate that they are still very much animal whereas simultaneously confinement and bodily adaptions suggest that maybe less natural forces are at play. It’s only through very close contact or rather handling these ‘animal objects’ - allowing the user to literally move along all of their aspects that he or she may truly discover their (own) nature. Embedded in the works there is an experimental research of materials going on that is inherent to the ceramic process. The different sections of the installation refer to each other in various aspects (visually, materially, conceptually) and so they can be seen as a dynamic ever changing collection. There isn't just 1 way to present the separate elements and so there is not just 1 way to look at them. Time and attention for detail are crucial during the process of making, assembling, reflecting and are thus also requested of the beholder when they approach and observe to discover something new upon each glance.