Andreas von Huene is a sculptor who doesn’t just create sculptures; he brings them to life. With a boundless imagination and an unwavering dedication to his craft, von Huene crafts pieces that engage people on a profound level. His work spans the spectrum from figurative to abstract, with each piece pulsating with character and vitality. What makes his art resonate is not only the form itself, but also the sense of presence it carries—every curve, edge, and opening suggests a dialogue between material and meaning. For von Huene, sculpting isn’t about imposing form on stone, but about uncovering the rhythms already embedded within it. His work asks viewers to pause, notice, and reflect, transforming raw matter into lived experience.
STRIDE
STRIDE stands as a work of both momentum and stillness. Hewn from stone, its mass is undeniable—rooted, weighty, ancient. And yet, the sculpture carries movement. Lines carved across its surface sweep diagonally, cutting through the block and pulling the eye forward. They resemble tracks, almost like the arc of a leg in motion, or the ghost of a figure mid-step. The void cut into the stone opens space, suggesting both stride and breath, as though the rock itself were stretching forward.
Von Huene has long worked in the balance between abstract suggestion and recognizable form, and STRIDE falls squarely into that dialogue. It is not a literal figure, not a body frozen in mid-walk, but the sense of walking is unmistakable. This tension—between rock’s immovable permanence and the fleeting gesture of movement—is where the sculpture finds its life.
What stands out about STRIDE is how it engages with its environment. Outdoors, under the sky, the cut surfaces catch light differently through the day. Morning casts sharp shadows in the grooves; by evening, softer light rounds the forms. The opening in the stone frames its surroundings, letting sky and horizon flow through. In this way, the piece is never finished—it shifts with weather, season, and the position of whoever approaches it.
Von Huene’s practice often rests on the interplay between discipline and intuition. Carving stone is a demanding act, one that requires control, planning, and the knowledge of how a fracture might spread. But in STRIDE, there is also looseness, a willingness to leave surfaces rough in contrast to sharply cut lines. That roughness keeps the sculpture honest. It reminds us that this was once a solid, untouched block, and that the hand of the artist chose not to erase all traces of its natural state.
The theme of motion runs deep here. A stride is never static—it is a passage from one point to another, an in-between. To stride is to carry intent, to move with purpose. By anchoring that action in stone, von Huene asks us to think about what it means to move forward. Is it about speed, or about persistence? Is the forward push visible in the sweep of the cut lines, or in the resilience of the stone that holds them?
The placement of STRIDE on its wooden base also suggests transition. It rests on beams, a temporary cradle, as though it is not yet at its final home. This sense of being “in process” mirrors the subject: walking is always on the way somewhere, never entirely resolved.
There’s also a human quality in the piece. The curved channels almost resemble tendons or muscles under strain. The negative space reads like the swing of a leg. But von Huene never allows the sculpture to collapse into direct realism. Instead, he holds it at the edge—where recognition meets abstraction, and where each viewer brings their own sense of what it means to move, to push ahead, to stride.
Ultimately, STRIDE is less about a finished product and more about momentum captured in form. It is stone, yes—dense, ancient, immovable. But it is also the idea of progress, of passage, of a body or spirit carrying itself forward. In that contradiction, von Huene creates vitality.
