With Crossroads of Senses, Loes Heebink places art within the daily living environment of the Herenboerderij. It becomes a place of encounter and tranquility.

Two wooden picnic tables are placed diagonally in the herb garden and form the heart of the installation. By taking a seat, the visitor is invited to slow down and be attentively present.

Six silent witnesses await on the benches: backrests transformed into sculptural figures, fitted with aluminum noses and tongues. These bodily fragments symbolize the senses of smell and taste and make tangible the intertwining of experience, memory, and community. Aluminum bowls filled with fragrant herbs sit on the tables, an ode to the abundance of nature and the power of sensory experience.
However, alongside these filled bowls are also empty ones, which confrontationally point to another reality: the emptiness of hunger, the use of food as a weapon, and the tension between abundance and loss.

The installation was presented in the context of the art route at the Hof van Rhee, an event focusing on dialogue between people, land, and art, inspired by the Herenboerderij (a farmhouse) – a place that brings together history, food production, and a sense of community.
Within this framework, Crossroads of Senses emphasizes that the senses know and express more than words can ever grasp, and that care for the earth and community goes hand in hand with attentive experience.

The sculptures of the aluminum noses and tongues were reused from the installation Meeting-room (1994), which Heebink created with Shlomi Schwarzberg as an indictment of the endless political debates during the war in Yugoslavia.
Where Meeting-room spoke of the powerlessness of language in the face of the hell of reality, the silent sculptures and empty bowls in Crossroads of Senses again point to the tension between abundance and lack, between human powerlessness and sensory truth.