After an interruption at the end of the 1960s when he turned to films, he returned to sculpture making use of marble, often combining different colours and finishes, as can be seen in his decorative work outside the School of Journalism in Aarhus. Other important works include the geometrical Huset der slikker solskin (The House which Licks Sunshine, 1980) for the Danish Institute in Rome, Dumhedens store flod (Stupidity's Great River, 1995) in Ribe, and Sorg (Sorrow, 1990) for the French University in Istanbul. His later work often consists of large angular shapes with rough surfaces as his three sculptures for the University of Lund (1994) and his 7 meters tall Colossus at the Amager Beach Park in Copenhagen. Throughout his career Haugen Sørensen had been rethinking how to work with sculpture, and according to him art is important precisely because it is the means through which society breathes. His oeuvre can thus largely be viewed as a commentary on basic conditions of human existence. Style Since his debut in 1953 he shifted without any formal training or schooling between materials and modes of expression within the sculptural sphere. His artistic language evolved throughout his career, but the production always kept an abstract core within its diversity. He primarily worked with sculptures even though he was also an accomplished draughtsman. Haugen Sørensen's works present his views of the human condition in his own, often brutal style. His reservations about the Academy's approach are evident in his oeuvre's glaring contrast to the generally theoretical approach of his contemporaries. Free of attachment to any given idiom, Haugen Sørensen channelled his creative talents to depicting his own outlook on life, capturing the basic themes of life and death, love and suffering as the focal points of his sculpture, whether working with clay, plaster, fabric, terracotta, bronze, marble or granite. Jørgen Haugen Sørensen's inspiration stemmed from myriad places. From Francis Goya's depictions of the Spanish peoples suffering during the Franco rule to Pablo Picasso's anti-war oil painting Guernica from 1937 and his own memories of childhood visits in the slaughterhouses in the Copenhagen Meat Packing District and readings of Kurt Vonnegut's novel Slaughterhouse Five from 1969. Haugen Sørensen studied Gian Lorenzo Bernini's craftsmanship and marble sculptures, the Mediterranean crafts traditions and he also took away ideas from his meeting with the abstract expressionist art movement in Paris and CoBrA in the 1950s. Selected public