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In her work Hanneke de Munck uses different techniques and, to a much varying degree, abstracted figuration based on the classical tradition, so lovingly instilled into her by her teachers.

The essence of the work comes first, her language of shapes and her choice of materials and technique come next. She often prefers mouldable materials such as clay, plaster and modelling wax because the possibilities of spatial awareness and texture they offer are enormous and because with these materials one literally works from the inside out. The final figure, cast in bronze, is beautiful to see and to feel and will last forever.

Apart from this Hanneke de Munck also likes cutting a sculpture out of natural stone or carving it in wood.
At Hans 't Mannetje's restoration atelier Uylenburg in Amsterdam, Hanneke de Munck had a stone working training of two years whilst at the same she was teaching portrait modelling there. While working and cutting she got acquainted with many kinds of stone. Each stone has its own character and this gives inspiration for new shapes.

Thus a full series of bird figures came 'to life', cut into Portuguese marble, lava stone, alabaster, granite and other materials. In 1996/97 the 'Dancing Monoliths' in large granite slabs were born.

De Munck’s latest love is wood. She has a collection of tree-trunks out of which a new series is coming forth in a surprising interaction with the material.

A few themes come back in De Munck’s work time and again, for instance  the 'Dancer'. The series of modelled dancers to be cast in bronze varies in height from 15 to 220 cm and comprises 16 statues in which different universal dancing movements have been elaborated.
In the granite 'Dancing Monoliths' the same movements return in a much abstracted way.

Based on the meaning of each movement Hanneke de Munck every time worked with another language of shapes and texture.

'Orpheus', 220 cm high, the last sculpture of the ‘Dancers’ series, shows both conflict and harmony, the texture of the still figurative sculpture has been kept quite coarse with large blocs and open spaces.

It’s De Munck’s intention to reflect the dialogue between matter and space. But also the glorification of the creation by Orpheus' hymns, as well as the everlasting longing of man for his or her beloved, in many cultures symbol of the longing for communion. Angels, Dragons and Birds too are returning themes, all symbols of the intercourse of spiritual energy. In her sculptures on the 'Loving Couple' theme on which Hanneke de Munck is working since 1998, many of her former figures come together.