Lars Kærulf Møller, 2014

After Jørgen Haugen Sørensen settled in Pietrasanta, Italy in 1973, travertine, marble and granite became his prefered medium of expression, often used as a means to depict an inner demonic encounter between the soft and organic against the cold and brutal surface of the structural systems. A direct reference between human and architecture rendered in a series of monumental sculptures.

From 1974 and the years to come Haugen Sørensen used, geometric shapes in contrast to the organic as in The house who Licks Sunshine [p. 155] and Municipal Sculpture. Eventually monumentality more prevalent, but still with expressive undertones. With his latest grand work, The Amager Stone (Colossus) [p. 162], which is situated in Amager Strandpark in Copenhagen, he has revisited some of the idiom of the 1970s. The tectonic expression gives the sculpture a lightness and elegance, almost like an arbor that offers both protection and dialogue. The commisions have been many both in Denmark and abroad. Tashankara [p. 214] in Ankara and The House that Rains [p. 215] at Sankt Hans Torv in Copenhagen are both basal expression of balance and precision along with the use of rough fractured surfaces show Haugen Sørensens’ desire to reach an expression of simplification.