Housi Knecht knows how to make crude materials, such as iron and stainless steel, appear supple and as if to float.the sphere as a rolling element, is often incorporated into compact extending steel elements. The contrast between heaviness and lightness, is wonderful.
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Sculpture Park Schloss Rubigen – Art in Light and Water
A perforated steel sphere gleams in the sunlight, next to it stands a large chromium steel harp, with strings of fine water jets stretching between its neck and body. These are just two of the many sculptures in the park of Schloss Rubigen. The 3,000-square-meter garden belongs to the estate, which was built in 1728 and once housed the famous Kohlund acting family.
Some artworks reveal their full splendor only after nightfall, when the artist’s signature elements come into play: With light and water features, Housi Knecht creates astonishing and unique impressions. The tireless artist has undoubtedly established a distinctive style with his “positive dynamic art,” where spheres and rounded forms play a key role, blending hardness with lightness.
The Muse by His Side
On a gravel path in the once-overgrown but now beautifully maintained garden, Housi Knecht stands as his wife Barbara joins him. Where does he still find inspiration for his work, despite his advanced age? The man in the black vest embraces his wife and plants a kiss on her cheek—leaving no doubt about who the muse is that continually inspires him.
In May, Housi Knecht celebrated his 70th birthday—and he is brimming with energy. Anyone who listens to him at one of the many public events in the Schlössli can feel it. The Bernese artist is not only a gifted sculptor but also an eloquent speaker. "I’m just a chatterbox," he almost apologizes for his seemingly endless flow of words.
Every Saturday and Sunday afternoon, the gallery and park are open for visitors, occasionally hosting concerts or other events. As a passionate storyteller, he shares detailed insights into the history of his works and knows exactly where each piece is displayed today. "It has always been my dream to make my works permanently accessible to the public." In 2013, he fulfilled this dream by purchasing the castle, where he has lived on the upper floor ever since.
From Bern to the World – and Back
But Housi Knecht doesn’t just talk—he creates. Almost daily, he can be found in his studio in Gümligen, where three assistants help him. Some have worked with him for many years. Their support is essential, as Knecht handles tons of material and uses high-quality welding equipment for his sculptures. Despite his artistic freedom, the self-taught artist follows a structured process.
Every creation starts with a sketch, a process that can take up to 3,000 hours. "If you can draw it, you can bring it into three-dimensional form," he says. This was also true for his latest commissioned piece, a three-meter-high sculpture with a pendulum in the shape of a time eye.
Before the COVID-19 pandemic, Housi Knecht traveled frequently for exhibitions in Germany and the USA, where many of his works are displayed. "Then COVID pulled the plug on me," he says without regret. "I used to drive a lot—Friday night to the Côte d'Azur or Frankfurt and back by Sunday." That required immense energy. The forced slowdown was actually a relief for the busy artist.
After training as a mechanical engineer in Bern's “Lädere” workshops, he emigrated to Australia but returned to Switzerland in the early 1970s. Yet, the wanderlust never left him. He traveled across Japan, through the Soviet Union, and visited Hong Kong and New York. Eventually, his life settled when he married his wife Barbara, and they started a family with their two daughters, Anja and Louisa.
An Artist with a Unique Identity
As Bern developed into a meeting place for international contemporary art, Knecht found himself in the right place at the right time. In 1968, New York artists Christo and Jeanne-Claude wrapped the Kunsthalle Bern in white polyethylene and nylon ropes—the first building in history to be completely covered. "That was a shocking act for many and caused a great stir," Knecht recalls.
It was during this era that Knecht met painter Hans Binz and realized that one could actually make a living from art. "If he can do it, so can I," he told himself and embraced the avant-garde spirit of Bern’s emerging art scene. In the 1970s, he opened his first studio in Bern’s old town.
His breakthrough came in 1983 at the Frankfurt Book Fair, where he performed with his "Kultigator"—a 30-ton hydraulic press that crushed old television sets brought by visitors. The flattened screens were then incorporated into his new artworks.
In Switzerland, his greatest recognition came in 1991, when he created 33 bear sculptures for Bern’s 800th anniversary. Two years later, he sparked further controversy with his “Kreiselbär” (Roundabout Bear) near Bärenplatz—a 250-kilogram steel bear sticking out its tongue. The sculpture angered some critics, and in a guerilla action, it was tarred and feathered. The nickname “Bärenknecht” stuck with him, much to his dislike.
Although well-established in the art world, Knecht remains unpretentious. And although his art has made him financially successful, he still values humility. He lives by the phrase "Who does not honor the penny is not worthy of the franc"—a principle he recently embodied in a sculpture displayed at the SLM Münsingen atrium.
