International Wool Symposium

2012 - 1st edition

12 - 15 April


Participating artists

Anne de Harlez (Belgium)

Bertien Habets (France)

Heike Endemann (Germany)

Irene Hoppenberg (Germany)

Josef Baier (Austria)

Marta Linaza (Sapin)

Karl Chilcott (Sweden)

Christine Chilcott (Sweden)

Alicia Ríos (Spain)


This first edition of the International Wool Symposium was a co-production with sculpture network and the call was sent exclusively to its members.

sculpture network is a not for profit organization based in Munich with European reach. It works to promote contemporary sculpture and create networking around it. 

El Arreciado greatly appreciates sculpture network's collaboration to get this project off the ground.




More info 2012, 2013, 2014, 2015, 2016, 2017

2018, 2019

Anne de Harlez (Belgium)


My work questions the male/female identity, the destiny, the perception of time, the nature in and around me and much more…The forms are curvy, ovoïde or repetitively sin fin.The material used is as fragile as posidonia herb or strong as bronze.


Size could be from small to monumental. The subject could be intimate to very public. But the research is constant, trying to find the core of the female soul. The installation to be created would be a tribute to my godmother who raised –and loved- sheep all her life and died last week.

Bertien Habbets (Germany)

Writing with Wool

As conceptual-artist I concern myself with freedom, the concept and its meaning, translating it into objects that range across the various areas (for example: gender relations, society, religion, culture) in which it is reflected.


My work is not limited to a particular medium: I use whatever expressive means appear most suitable, from cast iron to feathers, combining found objects with materials that can be shaped at will, to embody and convey my ideas.

Heike Endemann (Germany)



As a sculptor I mainly work with green wood from various trees – each tree invites me on a journey of discovery, each log becomes an experiment. In addition to the material, the working environment plays a major part in the development of my sculptures:  Usually I work in the open air.


The possibilities the material offers as well as an open work space over time rid myself of any feelings of limitation. Wood is transient in its natural surroundings – this ephemeral aspect of my work I hope to emphazise by working with another natural material: New wool.

Irene Hoppenberger (Germany)


My works have a minimal structure and some have a serial appearance.  I am very interested in site specific works, because I have to respond to a special situation or architecture... Nature, with it’s structures and forms, is inspiration and stimulates me.

Spiders are considered industrious and wise animals.  For me it’s like a symbol for sculpture network and the symposium. Artists come together for inspiration, to network and to share a fabulous experience at this remote place of the farm... I would like to install the sculpture outside on the ground where she seams to walk around in the nature.

Josef Baier (Austria)


The title “woolive’s” is the combination from wool and olives = “woolive’s” – a new fruit in the paradise.


Marta Linaza (Spain)



Me interesa vincular el proceso de creación plástica con el proceso de evolución de las formas naturales. Llevo tiempo trabajando en esculturas y objetos que tienen relación con el crecimiento, la luz, el cielo y la tierra. Con el tiempo y la memoria. Con el paisaje, que me permite hacer un ejercicio de ordenamiento y de comprensión ya que es desordenado, asimétrico y siempre desconocido. 

Cada material me sugiere modos de hacer distintos; al pensar en la lana se me vienen a las manos acciones como peinar, atar, anudar, envolver y a la vez, estructurar y formar. Pienso en posibles piezas: “Camino de lana”, “El árbol de la lana (con permiso de Iraida)” o esta última: “La lana recuerda que siempre fue sombra  para la tierra” (pequeña arquitectura alargada). 

Karl Chilcott (Sweden)  

Christine Chilcott (Sweden)

Spinning Tree

Working with the genesis and history of spinning I want to install forms like Spindles in a living olive tree. In front of the tree there shall be a standing Distaff  (h: 180 cm) . I will use branches and strings to stabilize the wool. 

I want my art contribute to a reconciliation between mankind and nature (Adorno). In the process I use natural materials and powers like green wood, fire, snow and ice.  My works shall be points of references to the nature within and without us. (Karl Chilcott)

Alicia Rios (Spain)



In the early 90s Alicia Ríos began to create food performances and in 1995 she co-founded the artistic working group Ali&Cia (Ali&Co in Spanish) along with the architect Barbara Ortiz.

Individually and as part of Ali&Cia she has produced an extensive range of performances, installations, sensory concerts and phagy rituals where reality is reinterpreted through food and devoured collectively.