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The formal language of Berry Holslag's ceramic figures fits in seamlessly with the leading visual language of the 1980s, in which the human figure was once again in the spotlight. The plinth sculpture 'The Observer' is an exponent of the realistic sculpture that dominated the street scene and the sculptures on offer in galleries and museums in the last decades before the turn of the millennium. In this work, the perception of reality usually turns out to be slightly different from what the viewer initially expects.

Holslag's monumental and colourful ceramic figures are immediately recognisable and accessible due to the clear visual language she uses. What you see is what you get': it is what it is? Or is it not? On closer inspection, it appears that this artist is not only concerned with the depiction of ordinary, recognisable human figures. She is also concerned with the way people function in their daily environment, to question viewing habits and traditions in (sculpture) art.

Holslag gives her figures an extra dimension by making them larger than life, by giving them special attributes or by placing them on a high pedestal. The latter is the case, for instance, with the 'Guards' on Loosduinseweg in the city of Rotterdam and the monumental sculptures 'City Walk' on Zuidplein in Rotterdam. Despite their recognisability, the format and distance prevent the viewer from identifying with them. This subtle alienation raises questions for the viewer. This is also the case with 'The Observer'. With this incorruptible figure in a timeless, grey costume, Holslag presents passers-by in the busy centre of The Hague with an image that, in turn, observes.