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Barbed wire held together by cow's arm. That is how the first sculptures exhibited by Jos Kruit looked. She became nationally known overnight in 1994. Rudi Fuchs, then director of the Stedelijk Museum in Amsterdam, exhibited two of her sculptures in the 'Couplet II' exhibition. The transparent 'Cathedral of Horses' became the most famous. Kruit had built this spatial sculpture out of eighteen rose-red, elongated horse legs made of resin. The legs were grouped in pairs and then linked together to form domes with steel tubes. Since the horse's legs of the inner dome are stretched out and the outer legs are kneeling, the sculpture acquires a curious twist.
Like the 'Horse Cathedral', other sculptures by Kruit possess a great spatiality. In addition, this sculptor is always looking for movement and balance in her work. This also applies to her sculpture for the sculpture gallery. Here, too, there is an open construction that gives you the feeling that it is turning slightly within the space of the pedestal.
What the pedestal sculpture is, however, does not appear to be easy to define. Nevertheless, it is recognisable from afar. On the plinth, slightly tilted, is a sand-coloured cylindrical shell that is open on one side. The outside is smoothly polished. Engine covers and aeroplanes - that's what you involuntarily think of. Inside the casing, against a matt inner wall, you can see a handlebar on a high pole. Both handlebars and pole are lacquered as if they were wood. Associations with steering wheels and boat masts immediately come to mind. Yet the total sculpture itself does not look like anything concrete.
For her pedestal sculpture, Kruit took Geert Lap's pedestal as a point of departure. The sculpture, for instance, is twice as long and half open. For Kruit, it is primarily about proportions, surface, material, spatiality and movement. In short, her pedestal sculpture is a true sculptor's sculpture.

Currently, this statue is stationed in the Zuiderpark.