Drie sculpturen van eikenhout met familiewapens in het stadhuis van Oudenaarde, België before 1887

Curator: My goodness, this is quite something! These images depict three oak wood sculptures adorned with family crests. They once graced the Oudenaarde Town Hall in Belgium. Can you believe this detail? Each one is like a little world carved in wood. Editor: Immediately, I notice a tension between the personal and the political. The family crests, of course, speak to lineage and power. I'm intrigued by how this private symbolism functions within the very public space of a town hall. How did these heraldic symbols serve to either unite or perhaps even divide the community? Curator: That’s a delicious point! Visually, there's a density that's incredibly inviting. All those tiny, meticulously carved details draw you in, promising stories behind each line and curve. Each relief is really busy, you can feel a symphony. I almost expect a choir to break out of the wall when viewing. Editor: Exactly. The sheer density underscores the social and economic clout these families possessed. We have to remember that heraldry wasn’t just decorative; it was a visual assertion of status. Think about the access and privilege implied in even being able to commission a piece like this. What did this say about citizenship, or even humanity, for the common person during this time? Curator: Well, you also get this sense of continuity, don't you? Wood has this ancient quality, the carving feels connected to the earth. Before 1887, and rooted into civic space in Belgium… it lends weight and perhaps a touch of intimidation. There’s a very specific kind of… grandeur here. Almost theatrical. Editor: And it's a grandeur deeply embedded in systems of inequity, right? When you look at these images, remember that these families often benefited from – and actively perpetuated – hierarchies. Curator: Always that balancing act! History's not always pretty, even if it births pretty art. So where does that leave us then? Is the dialogue between then and now where we are left? Editor: Precisely. These carvings are compelling entry points into vital discussions. Examining these art objects as cultural texts reminds us to ask difficult questions about power, representation, and collective memory. Curator: Beautifully put.