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Alfred Eikelenboom's sculptures hardly ever have pedestals. And if they do have one, they are usually not a secondary element. This is also the case with his sculpture for the Sculpture Gallery in the centre of The Hague. The pedestal is an essential part of the total sculpture. Eikelenboom has achieved unity in this by means of repetition of form and colour. The oval form of the plinth is repeated in the columns. And the grey of the pedestal merges seamlessly with the grey of the sculpture. By the way, if he hadn't been given a grey plinth, he would have made it grey. For almost all of Eikelenboom's sculptures are grey. For he is concerned purely with form, not with colour.

Eikelenboom has been engaged in form research since the late 1960s. He calls the results of this research 'utopian models': images that represent his ideas on architecture. His pedestal sculpture is one such 'utopian model'. The starting point for the steel sculpture is the mushroom. With the two oval columns and the spherical capital at the end, Eikelenboom has given it an architectural look.

Although he is particularly interested in architecture, he derives his visual vocabulary from nature, such as mushrooms, and from forms that are not found in architecture. Whereas in architecture the cube and the square are predominant, Eikelenboom bases his work on conic sections, circles and rounded rectangles. With his 'utopian models', Eikelenboom aims to present a new visual language to architects and urban planners. The models are therefore not scale models, but futuristic visions. No vague dreams, no flight or expression of dissatisfaction, but a form of constructive criticism. With a variety of forms, he offers architects an alternative to the monotonous building with blocks. And he continues to do so.

Currently, this statue is stationed in the Zuiderpark.