In preparation for the exhibition Field for Prey, presented at Artbeat in Tbilisi, Georgia, in 2024 and at Tatjana Pieters in Ghent, Belgium, in 2025, Charles Degeyter travelled through Georgia for several weeks. The journey, undertaken in relation to the work of Nina Kintsurashvili and Ana Gzirishvili, focused on Orthodox churches, natural landscapes and local legends, and informed a new series of sculptures and reliefs. Georgia lies along an important route for bird migration and is known for the seasonal passage of birds of prey. Each autumn, millions of raptors pass through Batumi on their migration south, making the region a recognised observation site for ornithologists and bird enthusiasts. Birds of prey also feature in Georgian folklore. In mountainous regions such as Svaneti and Khevsureti, eagles are described as messengers of the gods or as bearers of souls. These stories reflect a spiritual relationship between humans, birds and the heavens, in which the raptor serves as an intermediary between the earthly and the divine. Falconry, a practice with a history spanning more than four thousand years, provides a further point of reference. The relationship between falconer and bird, together with the historical and cultural traditions surrounding the practice, informed Degeyter’s exploration of the relationship between humans and animals. His work examines the boundaries between the two and questions the position of the human within the natural world. Field for Prey brings together three distinct but related artistic practices: the paintings of Nina Kintsurashvili, the sculptures and reliefs of Charles Degeyter, and the sculptural installations of Ana Gzirishvili. The works establish a dialogue between pictorial and three-dimensional forms. Rather than organising them according to a hierarchy of genres, the exhibition approaches their relationships through a rhizomatic structure. Still life, hunting scenes and landscapes serve as starting points for different lines of inquiry. Still life is associated with the act of capture, while the object, like a sarcophagus, refers to both display and preservation. Landscape is treated not simply as a setting but as a site in which nature and culture intersect. The works also address the role of human perception in shaping representations of natural and cultural environments. Degeyter’s fossil-like reliefs form part of this narrative. They refer to the material remains of a mythical past in which humans were not at the centre of existence but formed part of a wider natural order. The reliefs suggest a time in which nature determined the conditions of life and the position of humanity within it was not taken for granted. Through these forms, Degeyter examines the relationship between human and animal, past and present, and nature and culture. His work places the human within a broader natural history, rather than treating it as separate from or dominant over its surroundings.