Koenning works in series and is globally peripatetic yet adopts "an embedded vantage point [in] an ongoing concern for documenting scarred, wounded, and transitioning landscapes.": "Lake Mountain" (2010 - 2018) distils into a triptych imagery from return visits over a decade to evidence the effects of the 2009 Black Saturday bushfires; "The Crossing" (2009 - 2017) is a long-form work in stills and video concerned with human impact on Australian ecology; "Pott" (2012 - 2018) details indications of post-industrial transition through places and people of Koenning's birthplace the Ruhr; "Loraine and the Illusion of Illoura" (2010 - 2012) documents road trips in Australia; "Transit" (2007–2014) featuries portraits of seated travelers lost in thought or sleep; "Thirteen: Twenty Lacuna" (2009–2011) uses seemingly cinematic, ambient lighting to momentarily spotlight Melbourne city pedestrians; "Dear Chris" (2012 - 2013) is a personal encounter with the apprehension and aftermath of suicide; the digital video "Collisions" (2015 - 2017) is compiled from brief fragments from mobile photo footage; "Indefinitely" shot between Australia, New Zealand and her native Germany over eight years, presents the condition of a geographically separated family; two series, "Midnight in Prahran" begun in 2012, and "Four Lakes," commenced in Kolkata in 2017, are ongoing location-specific works on urban human interconnectivity; "Rausch" (2016 - 2018) visually interprets the experience of chronic tinnitus; and her current work "Swell" is concerned with Australian government interference in, and resistance to, climate activism targeting the Adani company's Carmichael Coal Mine.