1963-1972: Flexible forms
During the last decade of Jorn’s life he gradually began to work with more flexible forms than before, and in his paintings the colours ran more freely than before.
Over the course of the last ten years of Jorn’s life his paintings took on a special intensity of colour and virtuosity of execution. The colours ran more freely, creating almost psychedelic formations.
From Marxist dialectics to triolectis
The liquid forms can be said to reflect the evolution of Jorn’s theoretical thinking, where the firm structures that had infused his thinking up to this point were reduced by a greater flexibility: The dialectic logic of Marxism, which involves a dynamic exchange between two opposing claims, was replaced by his own complex and dynamic model, which he called triolectics.
The three forces of triolectics
Triolectics can be seen as concerning the relationship between three modes of thinking - an objectively founded scientific mode of thought, a subjective and artistic mode of wishful thinking and a philosophical mode of thought that aims to build concepts.
Even though the three modes of thought are mutually exclusive, Jorn believes that all three are required in order to properly describe the world. Jorn believed that almost all phenomena in the world encompass three opposing forces or truths.
Read about Jorn’s triolectic football
Ambiguity and creativity
In Jorn’s late works the titles grew increasingly poetic:
"I believe that the value of a picture rests on the opportunities it offers for linking each individual picture to numerous interpretations (…) That is why I use titles in a very casual manner, always taking care to never become too explicit."
To Jorn ambiguity was an important artistic strategy: The objective was to break down the boundaries between the artist’s creative action and the viewer’s passive appropriation, allowing the viewer’s own creativity to enter the equation.