[1] He gained a unique place in Danish art with his dark monumental works, often presenting an eerie confrontation between modern technology and the primitive past.

Until the early 1980s, inspired by environmental art from the United States, his spectacular works revealed his fascination with conflict and provocation and his contempt for convention.

An early example was Koncert for en hjemmeværnsmand (Concert for the Home Guard, 1969) featuring live chickens with lamps strapped to their backs.

The direct confrontation of work and nature is also apparent in his gigantic Elia (1989–2001) in Herning, conceived as a fire-spitting temple of dark steel.

[1] His fascination with machines also produced works with animal bones, bird wings and skin, juxtaposing nature with culture and creating visions combining primitive elements with modern technology.