Pieter Bruegel the Elder constructed his paintings with fragments of landscape elements he had seen on his travels. In the painting The Triumph of Death he depicts an apocalyptic landscape, in which the trees have been replaced by gallows and breaking wheels.
Bas Smets rebuilds a fragment of this painting in reality, in a place where Bruegel might have encountered them. The breaking wheels, at the time described as ‘bait for the crows and ravens’ will serve as resting and singing posts for birds. With this Smets completes the circle between perception, imagination, and construction.