A.D. Horn: City 1982. Oil. Canvas 120 x 160 cm. (Collection of The National Museum of Contemporary Art).

A.D. Horn: Remnants of a renaissance construction, sinking in calm weather. 1991. Three colours. Size: 39 x 53 cm. Edition: 80 prints.

The Painter's View
On Understanding Art of Our Time
It is impossible to understand the real content and spirit of art without considering the influences of their own time upon the artists. If an audience ignores these elements, art will be like an enigma. It will collide with, and sometimes provoke, public opinions on the purpose of creating art. Art follows its own path, regardless of what public opinion might think about its purpose. The real function of independent art is not to decorate the wall behind your sofa.
It is vital to have in mind the impact upon artist and art from the events and drama of any present time, for better or for worse.
The works of this painter are never directly illustrating any specific problem. His art simply indicates his basic feelings, views and reflections on the spirits of our times. The paintings and graphic art of Adolph Denis Horn must therefore be regarded as manifestations and symbols of a chaotic epoch in the history of mankind.

The Painter's View
On Man, Society and Nature
Since the beginning of the 1960’s Adolph Denis Horn has been deeply involved in problems concerning the decay and disintegration of human civilization. Among others the following issues:

• The destruction of environment and nature, and of industrially processed food on public health; the effects of irresponsible plundering of global resources on the coming generations; of irresponsible public consumption; of growth in world population etc.
• Participated for years in “green” political activities in Oslo, based on programs for a new stable society on the basis of human rights, and in harmony with nature and environment. In 1971 one of the founders of the first “green” political party in Norway: Natur & Miljø (“Nature & Environment”). Wrote its political program for the elections in 1975.
• The painter strongly supports protection of nature and wildlife. He does not visit nature to destroy, but to experience its beauty with respect.
• From 1965 strongly opposed to plans for adding fluorides to the drinking water in Norway. As a member of the Norwegian Public Health Association he continued Blanka Bjørgan’s campaign (see below) and contributed actively in stopping this project in the 1960’s and the 1970’s. Based on medical facts he considers fluoridation and other use of fluorides to be an alarming hazard to public health and a grotesque offence to human rights. He has written a book about the problem: “FLUOR MOT TANNRÅTE - ET FARLIG FEILGREP”. 1978. (Only in Norwegian edition).
• The painter is a member of The International Anti-Slavery Association. He considers slavery and any other kind of suppression of humans to be the crime above all crimes to man and mankind through history. He finds it a shocking fact that the Islamic Quran, said to be a divine book, approves slavery and orders slaves to be treated worse than free men, and that slave women can be sexual abused without limits.
• The painter has for the last four decades written vast numbers of articles in Norwegian media: On contamination; on health; on the use of fluorides and fluoridation; on resources, nature and environment; on alternative principles for a society for hundreds of generations. He holds a pessimistic view on the progress of civilization, based on the fact that the present situation, both local and global, is out of control. This will lead to THE CATASTROPHE. (Norwegian edition).
• The painter is for basic reasons opposed to a Norwegian membership in the European Union (EU).