A sculpture can only ever inhabit one place in space — that limitation pushed me toward building installations instead. I wanted the visitor to be able to navigate the work itself and by their presence become part of the work.

With industrial scent machines, I infected Art Brussels in 2016 with Plague. Placed inside a closed off fumigation tent that resembled a covered to-be-revealed-sculpture, they dispersed their different smells unknowingly onto the public, their aerosols landing on them, as they carried them further through Art Brussels and onto their day. Four different aroma's alternated to subconsciously evoke nostalgia (cola candy flavour), the unknown (space ship), the luring (the perfume of an apparel store) and the appaling (airplane crash).

"König focuses on the arena of fear that is often connected to the unknown and the worry about the dangers that lay ahead. Some of the defining strands of fear that König explored connect to the disquiet and unidentified danger of radiation and virus infections. While our sensory receptors are unable to help us establish its extensiveharm, it is often long term or life threatening." Source (2016)

Plague - Art Brussels

From there I started to grow an interest in closing the work off entirely — making the visitor long for an entrance rather than granting one. Their is an something inside us that makes us walk over the next hill, fueled by the promise that we can reward ourselves with the view from there, Not much different how we can keep scrolling on our devices, in search of the next satisfyable insight or perspective.

So I started creating works from this notice, and for Unfair I installed an interrogation room. Inside this work, called Bystander, I created actual clouds that gently touched a floating rectangle as they moved by. Red and green wingtips lights of an airplane blinked inside lighting up the clouds, as a rumbling sound of an airplane was audible. On the floating rectangle, with 16:9 dimensions only subtitles appeared: interrogation questions of airport customs taken from a popular realitty TV series. Leaving the answers of the interrogated blank, but keeping the timing. The room could not be entered.

Bystander - Unfair Amsterdam

A smell was dispersed from the room, together with the clouds that could be seen leaking through an air vent, luring people towards the mirror. It could be viewed through a one-way mirror, and only when one would hold their hands between the glass and their eyes, closing off any reflection. A work easy to be missed on purpose.

Bystander - Unfair Amsterdam

My interest in creating works as experiences of the body longing for space, grew. I wanted to built upon my practice and deepen it with a more rooted Master's. To understand the constructed environment, and more precisely the interior. So I enrolled for Interior Architecture Research & Design at the Piet Zwart Institute.

There I researched and created, broadening my academic and architectual knowledge. and wrote my Master's thesis on the experience of space-time and the interior of a crash link. During my studies I created several works that played with the notion of perceived time as space.

Touchdown - 8min interpolation

Crash - 5:32 machinima videoloop

I graduated in 2020, during a full Covid lockdown — with no physical exhibition allowed, my graduation work became an online piece: a challenge to make something of real weight (or length in time) while staying under a megabyte in size. Everyone was sending gigabytes back and forth for online meetings, so I wanted something that kept the Cloud cool while still challenging the receiver. I wrote a 15-minute animation purely in HTML and CSS that pushed the receiver's CPU and GPU — an extended thought on constructed space from a cinematic angle, moving through shifting chapters. My favorite was the chapter where I thought out loud about the fog in Silent Hill.

Phosphor start

After graduating, I started to dive into coding. Beyond HTML and CSS, I picked up JavaScript and eventually C#, growing enthusiastic about Unity and Blender — building environments without material resources. Where I once made mostly physical installations, I became increasingly drawn to the immaterial: text and code. At the moment, I'm writing a novel, whenever I have time to write. I'm always looking forward to new ways of working.

Detourist - Atmospheric Spatial Proximity Puzzle Game (in Development)