When Hanneke Mols van Gool (Goirle, 1933) talks, her hands move vividly along. These hands have been shaping stone for 65 years by feeling, grinding, polishing and carving. In addition to creating large images, she also makes medal objects. These uniuqe objects are often made in thematic series. Usually there is a week or six in between the different series. This time is the much-needed 'in-between' time that she uses to "scratch and play", as she puts it herself. In this period she observers the supply of rough stones in her garden, and lets smaller stones go through her hands, followed by partial scoring and polishing. Followed by a period when she discovers, thinks and picks up again, until her intuition tells her that she has something new to deal with.

Although her medals sometimes recall an occasion or anniversary, they often depict a visual memory. Light that is filtered through drill holes in its tokens are an ode to the foliage of trees in autumn, and their alternation of volume and emptiness. The sculptor is also inspired by ballet performances, or during her travels along rugged rocky coasts, and material expressions of ancient cultures. In addition, new raids are created by the round or, on the contrary, pointed, rough or even smooth surface of nuts, porcelain insulators and bone, with which she combines the stone in her tokens.

The work of Hanneke Mols van Gool is characterized by technical expertise and playfulness. The importance of the craft was taught to her at the Jan van Eijck Academy in Maastricht (1952-55). Whereas at the Brera Accademia in Milan (1955-56) research and experimenting with the mass of the stone were central points of focus and study. Her small sculptures and tokens enable her to try out new forms and techniques in a short time. This gives new impulses to her large images.

Her favorite material is diabas, a hard and homogeneous volcanic rock. Because of her great technical ability, the penning maker is able to create very thin layers. As a creator, she constantly seeks out the boundaries of the stone. In this way she tries to get the heaviness out of the stone by balancing it on other materials or having it supported on its own weight. She strives for weightlessness and the floating of the stone, an enduring quest for light and air in mass.