The Irish writer Flann O’Brien, whom Konrads thinks so highly of, calls these interim states “intermediate places,” and they are not less real than Aristotelian or Newtonian reality. They allow time and space to dwindle. They are like a film still that points backwards and forwards both temporally and spatially, contains past as well as future, and to which has always belonged the whole of the film sequence in its core. In such states journeys in space and time are superfluous. It is not where one is that is decisive, but how one is. Konrads produces her works contrary to the logic of “what the case is”, but always with a small sardonic smile. This also applies to the encounter between her two piles of stones in “Piled up”, which took place in 1999. Here, too, we note an encounter between matter and magic, ponderability and levitation, the poetic and the profane. And the funeral pyre out of thin twigs and branches in the wood of Verdun, “Rising Fall” (2001), is all of that and at the same time an emblem of the cycle of becoming and passing, like the memorial of a fatal dissolution and fragmentation.
The snowball sculpture Moment of Decision (2004), however, which originated in a cold Swedish winter, once more neutralizes gravity and the force of snow, transforms nature into culture, and for the duration of the batting of an eyelid it sets a light and airy example of a balance of power.
In Konrads’ work, subjects, themes, and forming principles constitute a coherent whole. In an altered form they constantly determine the physiognomy of the works in new and different ways. The arch of the snow sculpture, both unifying and opposing, can again be found modified into a rectangle in the wooden sculpture Twilight Passage (2002), which originated in Belgium, and as a virtual connection in The Gate (2004), which originated in France. In the latter, Konrads discovered two massive stone columns: the remains of a historical gate. She completed the columns with identical stones, loosely securing them, however, on steel rods. Like the Pile of Wishes, the impression it makes is an ambivalent one. Are the stones flying away or are they settling on the columns? In view of the history of the gate the work is dealing both with reconstruction as well as deconstruction. It accentuates the historical process of destruction and at the same time introduces an act of salvation, of healing.
The work “Intérieur en Passant” (Interior in Passing, 2004), which also originated in France, operates with dialectic processes and the rhetoric figure of inversion.
Nature and culture are again combined in an ensemble of a table and three chairs out of steel and ivy, housed in a greenhouse, as are the light and the heavy, the paradox and the plausible, the absurd and the commonplace. When the objects hardly touch the ground, one suspects the fleeting nature of their whereabouts indicated by the installation’s title, like the unreal aspect of reality.