There are geographies that mark the flesh.

Eduard Casademont (Lloret de Mar, 1982) is an artist living and working in Catalonia whose practice investigates the unstable boundary between the wild and the domestic, and the ways in which human culture constructs, controls and ultimately destroys its relationship with the biosphere.

His work begins with a question: why do we need figures of the wild to domesticate ourselves?

Rather than understanding the wild as something external to human culture, Casademont approaches it as a projection of what modern society attempts to contain: the animal, the irrational, the uncontrollable, the unfamiliar. The wild becomes a figure through which ideas of civilisation, territory, belonging and control can be examined.

This investigation takes material form through sculpture, installation, drawing and other forms of image-making. Stone, clay, wax, charcoal and discarded materials are subjected to processes of transformation, erosion, fracture and reassembly. Materials carry traces of their previous lives and become sites where different forms of violence, memory and interdependence converge.

His ongoing research considers extinction not only as the disappearance of species or habitats, but as the progressive erosion of the relationships that connect us to them. The destruction of an ecosystem therefore becomes inseparable from the transformation of the human subject itself.

Casademont’s practice emerges from a background in traditional sculpture and drawing, developed between Barcelona, Carrara and Granada, while continually questioning the industrial and anthropocentric frameworks in which those disciplines have been historically situated.

His work proposes neither a return to an untouched nature nor a simple opposition between human and non-human. Instead, it asks what remains of the wild within the systems through which we attempt to organise, possess and domesticate the world.