Tapestries, unlike paintings, are not just images—they are woven narratives, physically embedded into the spaces they occupy. In medieval and Renaissance Europe, they served as both decoration and ideological statements, reinforcing power structures through visual storytelling. This particular tapestry from the Victoria & Albert Museum, depicting animals in combat, was likely commissioned for a noble or royal setting, where images of strength, conquest, and hierarchy were essential to courtly identity.

The choice to depict animals locked in battle was not accidental. Such imagery often mirrored human conflict, reinforcing ideas of dominance, territory, and the natural order. In a time when European empires were expanding, these symbols also carried connotations of conquest—not only over nature but over people, lands, and cultures. The violent encounters between beasts can thus be read as metaphors for social and political struggles, reflecting a worldview where power must be asserted through force.

But what happens when such images are removed from their original context? In museum settings, these tapestries become static objects, stripped of their spatial and ideological function. My digital reconstruction seeks to reactivate these frozen narratives, allowing these animals to move once again—reclaiming the dynamism they were meant to have. In doing so, I question how historical artifacts are framed in contemporary institutions, and how digital media can intervene to offer alternative readings.

Beyond historical interpretation, I am also interested in how similar imagery persists today. We still see representations of conflict—whether in media, politics, or popular culture—where struggle and violence remain dominant storytelling devices. By reanimating these figures in a digital realm, I invite viewers to reconsider how power is visualized and whether these historical motifs still shape the way we understand competition, dominance, and survival in the modern world.