"If you look, even briefly, at the works Jørgen Haugen Sørensen has been working on in recent years, you can't help but notice two or three inescapable aspects: first, the material used in the creation of his latest sculptures is clay. Sørensen shapes it as if he were the first man to do so. With a desire to discover its properties and a desire to achieve what his imagination suggests, uninhibited by any norm other than freedom."

"Observing his forms, recently almost all anthropomorphic or zoomorphic, one grasps another evident aspect: he concerns himself with bodies, with certain organs—the legs, the arms, the buttocks, the head, etc. Personified or evoked by the emblem of the skull or skeleton, this is always in action, and his theater is humanity pursued, seized, raped by its fury, its fasting greed. And the narrative, whose apologues Sørensen quickly sketches, is quite eloquent. One need not have read Heidegger or Celan to recognize its bitter presence in human destiny and now in Sørensen's sculpture, which never ceases to manifest itself in new forms."

"The other distinctive aspect of Sørensen's recent work, in fact, is the striking presence of animals, especially dogs. And it's clear that his penetrating observation of their postures, their habits, their needs, their suffering, and their very animal condition is of great interest to him, since fails to effect the transference of humanizing their behaviors. They express a vast feeling of existential nonsense, a panicky and ultimately dramatic reality, a pervasive restlessness as they lie in involuntary apathy and without the hope or awareness of possible change."

"Ultimately, Sørensen, like Bulgakov in Heart of a Dog, has transferred those unspeakable feelings into his own and ours, thus instilling the not unreasonable suspicion that their physical features, their expressions, are similar to ours and therefore, ultimately, that those dogs, without too many perhaps, could be us, or speak of us, in other guises. Anyone who has had or loved a dog knows what I'm talking about, and above all, knows what they, and dogs, talk about without speaking."

"But Sørensen also shapes clay today because—as he himself states—no one, or almost no one, wants to do it anymore, and for him, instead, there's a need to repeat this experience to see if it can still be done with interesting results. To see if through it one can visualize moods, energies, and anxieties that emerge from the way in which, in its elaboration, thought and, above all, sensitivity reveal themselves."

"Once again, it is not a question of aesthetically attributing the quality of Sorensen's plasticity to realism or abstraction, but rather of grasping the full effectiveness of the way in which clay, through the hand of an artist like him, can resurface as a self-reflecting and newly credible piety."