Asbjorn Lonvig demonstrates a clear predominance towards a geometrical approach,
using flat contrasted colours, emphasising perceptions which come close to being pop art.
The oeuvre of the well-known Danish artist involves symbols, icons of a society dominated by images,
decontextualising them, inserting them in other compositions in which their freshness and dynamism are emphasised.
He produces formal assemblies in which sensitive ideas, infantile allegories or non-hurtful subjects, predominate,
seeking in the style of Miró an evocative approach little-by-little shaping a world of great sensitivity which captivates the observer
with an attractive warmth in spite of its initial lack of emotion.

His contribution to painting extends further than the field of composition, cultivating form,
fostering the passionate use of colour in order to endow his painting with suggestive features which go beyond the limits of the subjects themselves.

He communicates irony, gives expression to immense innate curiosity connected with his tendency to experimentation,
but always subordinating it to compositional organisation, seeking a clear dialogue between form, colour, balance and tonal expressiveness.

The art of the Danish painter Asbjorn Lonvig communicates at the first glance euphoria in a rough state. A so intense euphoria that the glance can not move away from the piece of his art.
Of course, the saturated colours are decisive in this very great glowing. The coloured dazzling and the feeling of pleasure which prolongs it have multiple causes. 
As adequacy between artistic creation and the constraints of communication, the art of  Asbjorn Lonvig illustrates an assumption of neurocognitives sciences: the neurons in charge of visual perception are first activated by patterns recognition, then by colors recognition, then by recognition of textures and movements recognition. In a piece of art  like "Soul hurting still ", the sensory impacts of the forms and the colors are very strong and equal.  The pleasure comes from what the eye and the brain receive from the red, the yellow, the green and blue at the same time as they recognize the squares, the rectangles, the circles, the triangles, the straight and broken lines and even  the letter “A”.
The glance thus filled by a profusion of feelings founds a generating mental state of pleasure.
After and beyond the primary emotion, in a second phase of contemplation, the spirit endeavours to confer an overall significance on the table.  It calls upon its repertory of already memorized forms.  Then, the pleasure becomes ludic.  Functioning like a rebus, the chart of an unknown territory, a coded language or a mysterious diagram, the piece of art asks to the witness:  " What am I ?"

The World of Art Award
granted to
Asbjorn Lonvig, Denmark    

"Absolute unique, dedicated, brilliant, excellent.
Searching your web site I have to say that I AM IMPRESSED!!!"
"...we granted you an award – The World of Art Award granted to artists and galleries
for the best practice in art and culture... "

Regards,
Peter Russu
Editor of World of Art magazine
15 Manchester Court
E16 3GZ LONDON (UK)

Prize Jury
Andrea Pagnez, art critic, editor of World of Art magazine, Venice Biennial curator (Italy)
Christopher Chamber, art critic, editor of World of Art magazine, New York (USA)
Marta Dimitrescu, director of Artoteque.com, editorial director of World of Art magazine, London (UK)
Åke Wallén, director of BGAB, art collector, Stockholm (Sweden)
Peter Russu, director of Art Addiction, editor and publisher of World of Art magazine, London (UK)