Texts & Writings

This page presents a selection of catalogue essays, exhibition texts, and critical reviews written about the work of Bjarne Werner Sørensen over the course of his career. Spanning more than three decades, these writings document the development of his abstract painting and printmaking practice.

  • Abstract painting with purple, lavender, red, orange, yellow, green, blue, and black brushstrokes.

    From One Springs the Other – Helene Johanne Christensen

    Catalogue essay for From One Springs the Other, solo exhibition, 2019.
    An exploration of tension, colour relationships, and structural movement within Sørensen’s abstract practice.

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  • Abstract painting with bold red strokes over a background of various dark and earthy colors.

    Where the Coordinates Intersect – Nils Ohrt

    Catalogue essay for Kringsýni, solo exhibition at the National Gallery of the Faroe Islands, 2018.
    An analytical reflection on spatial structure and panoramic perception in Sørensen’s abstract practice.

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  • Abstract painting with bold, swirling brushstrokes in various colors including red, blue, yellow, white, pink, green, brown, and black.

    Panorama – Mai Misfeldt

    Catalogue essay for Panorama, solo exhibition at The North Atlantic House, 2017.
    An exploration of abstraction, perceptual depth, and spatial dynamics in Sørensen’s work.

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  • A tall, dark stone sculpture on a cobblestone sidewalk by a canal, with bicycles, a stroller, and people walking nearby, along with historic buildings and a flag in the background.

    An Entire Bisected Place Exists – Sissal Kampmann

    Catalogue essay for Panorama, solo exhibition at The North Atlantic House, 2017.
    A fictional and poetic reflection on mixed heritage and cultural duality in dialogue with Sørensen’s work.

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  • Abstract painting with dark red and black brushstrokes, with hints of yellow, green, and light blue in the background.

    Impressions – Erik Steffensen

    Catalogue essay for Panorama, solo exhibition at The North Atlantic House, 2017.
    A reflective text on painterly development and the expanded complexity of Sørensen’s practice.

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  • Abstract artwork featuring large blue shapes with black dots and white lines on a light background, resembling a stylized flower or plant.

    Meningsskabende tilfældigheder – Kinna Poulsen

    Catalogue essay for Steinprent 2002–2012, solo exhibition at Steinprent, Tórshavn, Faroe Islands, 2012.
    A reflection on rhythm, vertical structure, and layered movement within Sørensen’s lithographic practice.

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  • Vertical abstract artwork with multicolored stripes on a narrow panel, mounted on a white wall in an indoor space with windows.

    Play of Color – Ditte Vilstrup Holm

    Catalogue essay for Continuum, Gallery Bie & Vadstrup, Copenhagen, 2010.
    A poetic reflection on colour planes, perception, and the shifting boundary between image and representation.

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  • Abstract artwork composed of multicolored, irregular lines and shapes behind black, tangled border lines.

    Udblik – Annebet Feiring

    Catalogue essay for Indfald, Gallery Bie & Vadstrup, Copenhagen, 2008.
    A reflective text on lithographic materiality, painterly gesture, and the dynamic interplay between black and colour.

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  • oil on canvas

    Fluid Patterns – Ole Thyssen

    Catalogue essay for Sketches of Rain, published in connection with exhibitions at Hafnarborg (Iceland) and Klein Art Works (Chicago), 2000.
    A philosophical reflection on abstraction, emergent structure, and perceptual transformation in Sørensen’s work.

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  • Abstract painting featuring black floating shapes on a background of vibrant, layered colors with swirling lines and reflective water effects.

    Artforum Review – Ronny Cohen

    Review originally published in Artforum (print edition), 1998, in connection with the solo exhibition Seachange at DCA Gallery, New York.
    A critical reading of Sørensen’s work in relation to formalist traditions and contemporary abstraction.

    View archive on Artforum →
  • A landscape drawing featuring a tree on the left, a pond or lake with reflections, and a person standing near the water, with horizontal lines background.

    Signs of the Faroes – Raffael Rheinsberg

    Catalogue essay for Seachange, DCA Gallery, New York, 1997.
    A poetic reflection by German artist Raffael Rheinsberg on landscape, collaboration, and the energetic field of Sørensen’s work.

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  • Abstract painting with swirling lines and splashes of white, blue, orange, and green on a dark background.

    Images Adrift – Mai Misfeldt

    Catalogue essay for Seachange, DCA Gallery, New York, 1997.
    A critical reflection on signs, coincidence, and the shifting space between form and meaning in Sørensen’s work.

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  • An abstract artwork featuring a dark, textured central shape with surrounding brushstrokes in shades of brown, black, blue, and white.

    Spredninger samlet – Poul Erik Tøjner

    Review published in Weekendavisen, 1991, in connection with the solo exhibition at Overgaden, Copenhagen.
    A critical assessment of early developments in Sørensen’s abstract practice.

    Full article available upon request