2017 Newsletter issue 1

October 9, 2017

Dear patrons, friends, and colleagues:

You have made my adventure in sculpture worthwhile! The connections, discoveries, sharing, and insights that I’ve had the privilege to experience through the production of our many projects together feel like high living. I would like to share some of my recent projects and exciting events with you.  Please click on any photo for a full view.

I encourage you to visit my recently updated website, where you’ll find more photos and a number of recent news articles about my work. I greatly appreciate your support, hope that you will enjoy this update and the ones to come, and look forward to your feedback.

This past winter and spring I revisited the medium of stainless steel, giving it a mirror polish in the creation of AETHER. An abstract that catches the imagery of its surroundings in an interplay with the sky, it displays a sophisticated composition of colors reflected in its various surfaces. It has a component of the figurative in how it stands – a pose as if listening for whispers far away.
May saw the completion of WALK the EARTH, a stele in brown sandstone from Presque Isle. I used themes and patterns of human design carved into the lovely natural weathered surfaces of this material to give the sense of a landscape seen from above—even as if from space.
In June, I carved a large (67”/1.7m) TROUT out of a large wedge of black granite that I had been eyeing for several seasons. Perching it 3’ (1m) off the ground gave it a chance to float in the sky along New Hampshire’s Lake Winnipesaukee in the acclaimed Meredith Sculpture Walk, where I also have BULL and PULL of the MOON on display. Boothbay Harbor is looking into starting a sculpture walk modeled on the success of this Meredith Sculpture Walk. Matching sculptures to sites is an exciting process being spearheaded by Boothbay Harbor Region of Commerce’s Patricia Royall.
Also in June, I installed two bronze weathervanes, easily recognizable against the wide open sky as being based on NC Wyeth themes: ROBINHOOD and THE HUNTER.
This summer, finding another wedge of the same black granite used for TROUT, I carved TROUT II, which is 63” (1.6m) long. It is freestanding and so can be displayed in a variety of settings.
August brought the Maine Coast Stone Sculpture Symposium to Boothbay Railway Village. Fifteen sculptors worked on projects ranging from Basalt weighing a few pounds to a heroic figure in Jonesboro Red granite which weighs several tons. I roughed-in a life-size sailor in the curl of a sail to be called Flying Jib. JC Stone donated the large block of Jay White granite which works well to indicate canvas. It was a pleasure to support our guest sculptor from Japan, Kamu Nagasawa, who created an exquisite basalt sculpture on the theme of listening. Our intern, Sam Betts, new to stone carving, sculpted a large, delicate, and exquisite form in Jet Mist granite as his first sculpture! We are wondering who might host our next symposium.

September took me to a wedding in Albuquerque and a day trip to Santa Fe, where I saw a great many sculptures in very many galleries — more than I had ever seen in one place. I’m inspired by the tall New Mexico clouds to sculpt them in marble or an exotic material such as Alabaster.

OWL, SNOWY is the latest in my series of owls carved in a form of feldspar called graphic granite. Look for a news item about it on my website.
Owl Rising will soon head south to its permanent home in North Carolina! It has been enjoying great company at June LaCombe’s Wells Preserve Laudholm Farm sculpture show.
On September 24, Kat and I attended an exciting concert by the Escher String Quartet in the Collins Center for the Arts at the University of Maine, Orono. After the concert my sculpture, “MINA”, was dedicated in a place of honor in the lobby — just across the street from the sculpture studios. I started this portrait, modeled on the countenance of my niece, while artist-in-residence there and used red granite for its gregarious visual strength. This is one of a series of over-sized portraits that I started at a symposium in Germany with “Der Traum der Wiese“ (“The Meadow’s Dream”).

Looking forward, one of sculpting’s joys is the adventure into new materials. I just acquired blocks of Belgian Black marble, Chinese Black marble, Green Onyx, Honeycomb Calcite and Blue Alabaster. There is a flood of ideas pouring into my studio!

I’m eager to start work on an owl in micaceous quartzite and an abstract flying form in Ashton Gray granite which has a delicate blue hue.

Brunswick Public Art is starting a campaign to fund and commission the outdoor percussion art piece I have designed for them: “THE RIVER’S VOICE.” They would welcome any contributions. As Brunswick is embracing the renewal of its ties to the Androscoggin River, the sounds will acknowledge the gurgles and crashes of the river’s journey over the falls. Imagine a ridge of granite eight feet long and two feet high supporting an arrangement of eight steel discs ranging from four inches to four feet in diameter. Bring your rubber mallet!

My website now lists a selection of completed works that are available for purchase.

What special projects are in your dreams? Please let me know how I can help realize them.

Best regards,

Andreas von Huene

P.S. I hope you enjoyed this newsletter and welcome your feedback on what to include in future editions.

© Andreas von Huene