Asger Jorn Quotes

In 1939 I wrote my first article ("Intime banaliteter" [Intimate banalities] in the journal Helhesten ) in which I expressed my love for sofa painting, and for the last twenty years I have been preoccupied with the idea of rendering homage to it. Thus I act with full responsibility and after extensive reflection. Only my current situation has enabled me to accomplish the expensive task of demonstrating that the preferred sustenance of painting is painting.

It is said that my art has some typically Nordic features: the curving lines, the convolutions, the magical masks and staring eyes that appear in myths and folk art. This may be. My interest in the dynamics of Jugend style probably also comes into it.

The artistic formulae wear thin quickly and yet daily the artist - when developing his own foundation - must enter his own time and the problems of other contemporary artists. Paths cross and the soil of time is starting to be turned.

A creative train of thought is set off by: the unexpected, the unknown, the accidental, the disorderly, the absurd, the impossible.

My work is based on a tradition quite distinct from the Eckersberg tradition, a Nordic line of development that had never been clearly and consistently defined in the literature on art. This line is not a straight one; it has the strangest and most fascinating twists and curves, and includes such artists as Edvard Munch, Ernest Josephson, Hill , Hansen Jacobsen, Johannes Holbek, Jens Lund, and Emile Nolde. Not all of them equally well known.

To get anywhere, one must choose one's mistakes. I chose experimental acts.

Beautiful, ugly, impressive, disgusting, meaningless, grim, contradictory etc ... It makes no difference, as long as it is life, vigorously pouring forth.

Those who try to combat the production of shoddy pictures are enemies of the best art today ... It always feels tragic to see people labouring to saw off the branch they are sitting on.

The goal changes from the general to the individual from need to wish, from ethics to aesthetics.

You can often give a better description of the fight between people, the essentials of it, by means of fantastic animals, the simple, primitive, naked instincts, than by depicting a specific situation. It is not the human animal we should describe, but ourselves as human animals.

During every really creative act, the artist finds himself homeless. To overcome this state he has to call up his last reserves of strength.

I act with full responsibility and after extensive reflection.

We are sparks that must glow as brightly as possible.

If the image was sketched onto the canvas and spontaneously drawn, colour would often be restrained and unfree ... The most important and the most difficult liberation process we went trough, the one that has distinguished our art, was the freeing of colour, the transition to a painterly spontaneity.

If you add something to a painting, never let it be for aesthetic reasons. Only let it be for reasons of expression.

If a symbolic language dies, it tortures us like a nightmare, like a thousand piece orchestra grating on our nerves and tearing our mind to pieces ... It is a corpse with no symbolic power or strength.

In the beginning was the image.

Anything really new is repulsive, because it is abnormal and unreasonable.

The act of expressing oneself is a physical one. It materializes the thought.

The great work of art is the complete banality, and the fault with most banalities is that they are not banal enough. Banality here is not infinite in its depth and consequence, but rests on a foundation of spirituality and aesthetics.

We are not disillusioned because we have no illusions ... What we have and what is our strength, is our joy in life ... in all its amoral aspects. That is also the basis of our contemporary art.

There can be no question of selecting in any direction, but of penetrating the whole cosmic law of rhythms, forces and material that are the real world, from the ugliest to the most beautiful, everything that has character and expression, from the crudest and most brutal to the gentlest and most delicate; everything that speaks to us in its capacity as life.

Being an artist is being an isolated individual.

We are not talking about a new cognition in relation to abstract art, rather a new area of cognition ...

We cannot inherit a fixed, unmoving view of life and of art from the past generation.

To understand the magic way of thinking you have to know non-magic thinking. If you see that clearly, you will see how many magic thoughts are necessary elements even of natural science today.

The reverse process is extremely important to me - that artistic images can inspire to words and different myths, and that in certain cultures this process has been the normal relation between images and words.

Everything is in constant flux, from state to state, from good to bad and back again ... , only in transmutation, perpetual motion, lies truth.