In his new show, A Dark Tale in White, which is the result of more than two years of intensive labor, Haugen Sørensen lets the clay act as his primary source of inspiration. The simple and familiar form is contrasted by the robustness of the material, which the artist moves in his own personal narrative.

According to Haugen Sørensen, the inherent dialectic of the sculpture is an essential remedy in describing the situation we all inhabit: What we experience here and now is seen through a veil of frightening details, while the big picture gets lost. This dichotomy is what he tries to emulate through the naked molding of the sculpture.

Since the beginning of time, humans have tried to visualize their thoughts and actions – good as well as bad. A Dark Tale in White paints a picture of a world ripe with cruelty and horror; fanatics, violence, greed and cynicism – everything conveyed through the quiet scintillation of white glaze over scorched clay’s horrific contortions. The brutality of the world is not something we can fathom in all our privileged ease. But yet it’s visible; as a dark and ominous shadow on the horizon.

The gloomy state of man – the raw and unforgiving clay – is explored and clad in the robes of innocence – the delicate, soft glaze: A dark tale in white.