Århus Kunstmuseum

Allis Helleland, Jorgen Haugen Sorensen, A Biography:

Sculpture disruption. Sculpture Landscapes

The fabricsculptures were made for the film JHS. In physical reality, they were, in the second half of the 1960s, to enter into a relationship with figures of harder materials such as iron and bronze, stone and plastic in so-called sculptural landscapes.

In these works Jorgen complete gave up upon the classic authoritarian sculpture as a closed fabricated forms. His early efforts to let the inner of the sculpture blow up the outer shell, was a complete succees, as he made the sculpture disintegrate totally.

Instead he operated with great sculpture landscapes, which consisted of several single parts who, without solid form, of no fixed composition and without a unifying plinth, were scattered around the room, like the remains of something that had once been, and which could be manupulated by the viewer who could change position and shape of the works. Frequently, the same individual components were used in several different contexts, so no particular finished work did exist.

Likewise, the interactivity between work and viewer played a significant role in the acquisition of the work. "You can apply press on the individual forms and make them high, low, flat, thick. I anticipated the randomness and also count on my team-mate, the spectators involvement. He can reshape things, test their possibilities, but he can not change the basic forms of the works. There goes the limit. Each part is a thing in itself - creating images. But the viewer can arrange them as he pleases, he just can not pack them too close together and not spread them too far. "

Photographer @ Gregers Nielsen