DO NOT CROSS (2025)

The art installation presents a striking reinterpretation of the traditional Christian cross, now lying on its side and bearing not the figure of Christ, but a lifelike cow. This powerful symbolism draws parallels between the crucifixion and the everyday sacrifice of animals for human consumption, positioning the cow as a surrogate for Christ.

The cross lies sideways in a container filled with scorched earth, evoking a sense of devastation. The installation explores the duality between nature and humanity. The exterior of the container is constructed from charred wood, reflecting the barren soil within. A red-and-white border surrounds the piece, painted with black text that reads “Do not cross” — a clear reference to police crime scene tape.

The red border also alludes to the metaphorical “red line” — a global symbol for a point of no return — and serves here as a warning against moral transgression.

The entire “crime scene,” complete with numbered evidence markers, points to humanity’s crimes against nature, while also leaving space for personal interpretation. It additionally refers to earlier acts of vandalism and destruction aimed at previous versions of the work.

The original installation, titled Holy Cow, was first shown in 2017 and sparked fierce controversy and international media attention. This was partly due to violent reactions, including smashed windows at the church where the work was exhibited, the burning of a medieval chapel door, and repeated attempts to destroy the piece.

In this new version, the artist reinvents the work and pushes the concept further, resulting in a deeper and more universal meaning.

Tom Herck's Holy Cow exhibition drew 1,800 visitors over five weekends, it was international news. The central piece—a crucified cow—sparked powerful reactions, from tears to outrage. Hosted in a long-unused church, the work was seen by some as provocative and blasphemous, prompting international backlash, hate mail, and protests.

The controversy escalated into vandalism, break-ins, and even arson, forcing part of the show to close. Devout Catholics protested the imagery, while Herck and allies stood guard to protect the piece. Despite the chaos, the exhibition continued, ending with a symbolic purification of the church.

Holy Cow ultimately became more than an art show—it was a flashpoint for debate, emotion, and the power of art to confront and provoke.

© Photos by Sebastien Steveniers, Erik Jamar, Raymond Lemmens.