Det er ikke, fordi Søren Hagen ikke kan gengive mennesker. Det gør han,
når han maler portrætter. Men i sine billeder fra det nære og det fjerne og
fra de store vidder – flere af billederne er i cinemascope, det særligt
brede filmformat – er mennesket fraværende. Det er i stedet deres spor, man
Man is absent from Søren Hagen’s new pictures. Yet again. And yet man is still present. He has left his trace. The signs of highways and byways. Jetties, sheds and car parks quietly caressed by the Sun as they meet Nature’s palm groves or her hillside shrubs. The sky, a representative of power and symbolising a perspective that reaches far beyond the individual, sparkles blue, at times navigated by the lightest of clouds. Yet in their bright enclosure, these majestic clouds are merely another contribution to the distinct tone of tranquillity in these perfect and, in the positive sense of the word, smooth pictures. ‘Tystnaden’ is the name of one of Bergman’s films from the mid-1960’s about the terrible realisation that God is dead. Heaven above us is empty. I am not here to profess any insight into the personal beliefs and religious considerations of the artist, but his pictures clearly depict a world, where God may play a part, but is not present.