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None of the other pedestal sculptures are as spiritual in nature and figurative as this sculpture by Famke van Wijk. Yet no old religious sculpture has found its way into the Sculpture Gallery. This sculptor, however, does not shy away from religion. And neither does figuration. Van Wijk has taken a bundle of light rays as the basis for her sculpture. Above the middle of these rays, which symbolise the light of Christ, she placed a crown. A crown of people waiting in honour and adoration for Christ's return to earth. This loving, three-dimensional crown contrasts sharply with the two-dimensional crown of thorns that Van Wijk has applied as a fine engraving to the top of the pedestal. In this way the sculptor shows, between the rays, the response that Christ received to his act of love.

Contrasts in material, such as the rough rays and the detailed human figures, are characteristic of Van Wijk's working method. The fact that her themes are usually religious has to do with her faith. Van Wijk is a member of the Church of Jesus Christ and the Latter-day Saints, better known as Mormons. I work mainly from dreams, but faith is my true source of inspiration,' she said in an interview in the Stentor (30-3-2006).

That Van Wijk occupies a special position in contemporary Dutch sculpture is also evident from the jury report for the Charlotte van Pallandt Prize, named after the Netherlands' most famous sculptress (1898-1997). In 2004 Van Wijk received this biennial prize to encourage young sculptor's talent. The jury judged that 'her work avoids the stylistic, expressive and aesthetic categories with which we are familiar in this day and age. It makes one curious.

When the sculpture became part of the Plinth Plan in January 2011, it was given a place opposite the Nieuwe Kerk on the Spui. A more appropriate place could not be imagined.