From Björn Springfeldt’s opening speech at Galleri Inger Molin, 2010:

“What first opened my eyes to August Sörenson was thanks to several of the elite of Swedish ceramics—such as Mia Göranson, Jonas Lindholm, Ann-Britt Haglund, and others in the studios of the old Gustavsberg factory—who urged me to visit August’s workshop, where he had newly moved in during his final year at Konstfack. I did so and was completely fascinated.

Here we had a boundary-crosser who created both utilitarian objects that posed philosophical questions and wonderfully useless objects, entirely on the playing field of fine art.

At the same time, clay is conceptually important for August Sörenson in its capacity as nature, cycle, and feedback. Fired clay—ceramics—is paradoxically fragile, yet more durable than wood, bronze, or iron, and when we stand before the ancient works from all corners of the earth, we are confronted with worlds long gone.
[…]

Art is born out of art, and in August Sörenson’s work there are root threads leading to Joan Miró, who created a world of his own, parallel to our own, but where absolutely anything can happen. And to Dick Bengtsson, who short-circuited the viewer’s intellect by bringing together radically different languages.
[…]

But everything August Sörenson creates is permeated, alongside the absurdism that runs like a royal road through modernism, also by a wonderful sense of humor. This so often misunderstood, subversive, and forgiving force has nothing at all to do with loud laughter, but with an attitude toward life—one that makes room for the experience of how unimaginably rich and enigmatic the human being and reality truly are.”