In addition to the principles of geometric abstraction and the realisation of material properties in a self-centred form, these works also play with the themes of repetition and change. In Koch’s more recent works, they have come to play an increasingly central role and can certainly be grasped as themes that are both universal and immanent to art: What is originality?
In a series of four wood engravings, Koch visualizes this action pattern of repetition and variation by rhythmically arranging seemingly identical relief plates on a paper surface in diverse shades of bluish-grey. In actual fact, however, the prints are realised with the aid of relief plates that only appear to be identical.
The three-dimensional wall object in the rear room consists of seemingly identical elements arranged at ninety degrees to one another. Although the individual components he uses seem to be identical at first sight, they are, however, absolutely identical: being hand-cut, hand varnished and hand glued. As a consequence, the repetition of similar entities makes them appear identical.
Koch’s central work is displayed in the front room in the form of five complementary, modular sculptures. All five sculptures consist of the same simple white wooden hand-made profile, which is equally occupied by diversely coloured, hand-painted strips of cardboard. Their dual modularity, their basic element and the rhythmic application of the colourful cardboard sections allude to repetition. The diverse colours and the varying size of the sculptures point to variation. And even though the impression might arise that these are simplified depictions of shelves, nothing real or tangible can be stored or kept in them – except for the space in between.
And even though Koch's works, as a whole, frequently convey a well-tempered sobriety, closer study reveals that – in their mode of execution – they are far removed from all industrial coldness.