Christine Habermann von Hoch Příběhy vyprávěné kovem
90 POSITIV 1/2026
ARCHITEKTURA
alongside the great architect Oscar Niemeyer. I have
loved architecture since childhood. I enjoy creating
commissioned works for architecture and public
space, whether they are free-standing sculptures
designed for a specific environment or design
elements. Some of my monumental sculptures, such
as the aforementioned Nativity scene, are inspired
by architecture. The individual figures of the Nativity
are around four metres tall and weigh nearly one tonne.
For instance, one can actually enter the sculpture
of Saint Joseph and, in a sense, connect with it.
In general, I very much enjoy collaborating
with architects. They approach me both
for contemporary solutions and for projects
within historical architecture. For example, the architect
of the Church of St Lawrence in Nuremberg invited me
to design a chapel portal. I then created a portal called
Holy Jerusalem, consisting of a symbolic 144 openings
for candles. I am especially pleased that it has become
very popular among visitors.
Traditionally, we imagine a blacksmith as a strong,
well-built man hammering intensely at red-hot iron.
But how does it happen that a woman dedicates her
entire life to such a craft?
Of course, it is physically demanding work. But it
is not only about physical activity: first, I study
the subject, then I create designs. My work is complex,
and the manual aspect is just one of its components.
I learned the craft from my father, Alfred Habermann
(1932–2008), whom I watched from an early age while
he worked in the forge. My father taught me how
to shape the material, what is possible with it, and how
to be in harmony with metal.
I was also greatly influenced by my studies at Palacký
University in Olomouc, as well as by study stays
at Universities in Vienna, Dresden, and Florence. All
of these experiences are reflected in my work.
When I create, I always start from an idea,
from the content, and then I search for the right form
and material that best expresses that idea.
In the end of August last year, your new metal
sculpture was unveiled in the house adjoining
the gallery on the square, commemorating
the British artist Jane McAdam Freud.
Please tell us a little more about that.
It is a metal-and-light double portrait of Jane McAdam
Freud – Dead and Alive. I created this work as a tribute
to my dear friend and colleague Jane McAdam Freud.
This sculptural diptych, made of steel, gold and light,
embodies both presence and transcendence. One
portrait reflects Jane’s earthly essence – her name
and legacy are engraved on it. The other, gilded
and illuminated, evokes her spiritual radiance – the light
that continues to guide and inspire us.
The sculpture speaks to people in the surrounding area,
both locals and foreign tourists alike. They perceive
it as a jewel set into the architecture of the house,
sensitively placed within the space.
Jane’s memorial sculpture and the works currently
on display in Slovakia are more intimate in character,
but you are also the creator of a number
of monumental works. What kind of approach
do objects of such different scales require?
I always work with space, and also with the story
of a particular place and person. With those
monumental works, I have to assess how the piece
will resonate within the given space. I begin
with sketches, then I make paper models, and finally
I create a model from the final material on a scale
of 1:10. When I am making the model, I am already
thinking about the technical challenges involved
in a monumental realisation. I know how I can
form each material. So I create works from the initial
concept all the way through to their execution and final
installation.
Working daily with red-hot metal must certainly
require complete focus and physical effort. How
do you compensate for such intensity, how do you
relax – do you still have time for your family or any
hobbies? And in what conditions do you work?
As I mentioned earlier, my work is not only about physical
labour. It is demanding, however, and I always approach
new pieces with full commitment. I have been very
active in sports since childhood, which has given me
a solid foundation. Even now, I relax through sport.
Recently, I have been attending judo classes with my
children. I also enjoy spending time in nature, which
calms and inspires me. I travel a great deal – I like
to broaden my horizons.
I grew up in Germany and lived in Austria and Italy.
However, I decided to settle with my family in Příbor,
from where I now work internationally. I have built
a new studio and forge here, which I am very pleased
with. It was very important to me that my new workshop
would have plenty of light. In the studio, I now create
both independent work and commissions for clients
in the Czech Republic and abroad. I am always happy
to welcome anyone interested in my work to my studio.
Interview for POSITIV Business & Style magazine
prepared by Tadeáš Goryczka as part of the Cabinet
of Architecture, an independent project for architecture,
art and design.
The photographs by Aleš Mynář published
in the interview capture the exhibition “I am always
yours” by Christine Habermann von Hoch at the Jane
McAdam Freud Gallery in Příbor, which took place
in December 2023.
Ilearnedthecrafrommyfather,
AlfredHabermann(1932–2008),
whomIwatchedatworkintheforge
fromanearlyage.
Tadeáš GoryczkaAleš Mynář