"In 1939 I wrote my first article 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."

“If one tries to understand the position of art today, one must also try to understand the conditions that have created the development of our perception of art and our perception of the relation to the individual and to society. The artist takes an active part in the campaign to deepen this our knowledge of the basis of our existence, the basis which, for him, makes possible an artistic creation. The artist's interest cannot be restricted to a single field; he must seek the highest perception of everything, of the whole and its details. Nothing can be sacred to him, because everything has become important to him.”

“Those who try to combat the production of shoddy pictures are enemies of the best art today. Those woodland lakes in a thousand sitting-rooms with gold-tinted wallpaper belong to the profoundest inspirations of art. It always feels tragic to see people labouring to saw off the branch they are sitting on.”

“The law of aesthetics is the same as the law for our desire… Need says: "You must eat." Aesthetics says: "You can do it in a thousand different ways." Ethics: "You need a woman." Aesthetics: "Which woman do you want?" Thus the purpose of art is first and foremost ethical than aesthetic — even when the wish becomes need. The goal changes from the general to the individual from need to wish, from ethics to aesthetics.”

“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.”

“This is not an objective, historical or psychological evaluation of Danish experimental art and its historical roots, but an ideological and artistic, collective representation of our own work, thoughts, and ideas. It shows how we ourselves view our work and our way of working, and considers which of the many traditions that make up our foundation we feel connected to.”

“Being an artist is being an isolated individual. But the development of the creative foundation of the encumbers the individual artists more and more with the prevailing problems. You are of your time whether you like it or not. Developing ones foundation to an artist means continually revising 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.”