Alfred Czerny belonged fully to the group of modern sculptors who strove for a humanistic renewal of sculpture. Backed by his talent, he allows things to emerge from themselves that have a certain grace and that are, in an ancient and quite beautiful sense, “beautiful”.
Johann Muschik (1962)
It seems as if Alfred Czerny’s sculptures cannot stand still. It’s like they were frozen in movement. A torso is also a phallus that expands and rears up. A reclining nude squirms and stretches and crawls. A horse jumps and remains hanging in the air in a way that only the Chinese Heavenly Horses can. Only they rest heavily on a pillar of clouds. Czerny’s horses need no help from the clouds.
Sven Weidinger (1968)
In general, the rhythm, the conflict, and harmony of different forms, the tense symbiosis of rounded and hard-edged composition are the real concern of Alfred Czerny’s sculptural art. Whether he returns to the subject of the dancer that Degas first explored in all its facets, or whether he designs a non-subjective, abstract penetration of convex and concave forms with a fittingly sharp ridge – his interest is always the musicality of rhythm that a sculpture assimilates and configures, and releases again transformed into matter.
Klaus Albrecht Schröder