The work of this artist covers different areas. Her etching breathes an atmosphere of the sixties, playful and psychedelic. Dreamy landscapes and various suggested levels of consciousness are created with a distinct loose line. The flexibility and symbolic tendency of her work can be found again in her statues; wood, bronze and stone, but now stilled in forms of pure grace and an exotic beauty.


Although she had success with her art, she was haunted by the realization that sculpture occupies a marginal place  in the present world. “I would like to make statues that are touched, which occupy their distinct place in the consciousness of people, as it was the case in more religious era’s.” she states. Taking this into account the step she made recently from sculpture towards architecture is self-evident. Sculptures to live in and houses with an artistic value.


At first glance of the construction plans of de Koning I was taken by surprise by an inclination to laugh and the idea that this might be the nightmare of every substantial developer.  It is true, just imagining such a block of structures in your average modern suburb arouses an amusing kind of relief. At last organic forms, at last humor in al those proverbial dull living quarters. But the average policy worker, with its head filled with estimates and area planning requirements, will quickly label these designs as unrealistic and put them aside.  At least, that was what I thought.


However, after studying the details of the designs a bit more, one notices that the objections against the carrying out of this project lie more in ones own head than in reality.

  

D.F. van Giffen








 

Thonia de Koning