Earthbound III

It seems like an age ago now, but in September of 2020, I was part of the third Earthbound exhibition held at Gudhjem Museum. This post is just a short description of the process involved in preparing and delivering the work I produced for the exhibition – much too late of course, but hopefully this will spur me on to be a more regular blogger throughout 2021…

Earthbound is a very loose collection of five Bornholm-based artists, all of whom take direct or indirect inspiration from Bornholm’s natural environment. Earthbound III would be myself, together with the incredible pots of ceramic artist Eva Brandt, the delicate and shimmering watercolours and prints by Lone Schiøtz, atmospheric oil paintings by Barbara Sørensen and the tactile organic wooden vessels by wood turner Hans Henning Pedersen. We had exhibited together two times before, both at Gudhjem Museum, so this was to be the third act. The previous exhibitions had been very well received, and I was looking forward very much to joining forces with the other ‘Bounders’ and putting my work up on the walls of what I think is Bornholm’s best gallery space.

Right from the start I decided I would produce some large watercolours, larger than I had ever tried before. I was interested in seeing if I could make some gigantic plein air ‘timescape’ paintings, where I would follow the movement of the shadows over the landscape, through the course of a day.

I started off buying a huge roll of Saunders Waterford paper, and cutting off slices. To stretch and prepare the paper, I took it to Bjergebakke Quarry, about a ten minute cycle ride from where I live, were I submerged the paper and let it dry between huge sheets of hardboard. All this happened in August during a very hot period, which meant the paper dried too quickly and buckled a little anyway. I was OK with that.

The first two paintings I completed in Bjergbakke Quarry itself. It is an old granite quarry, very small and local in character, that has been out of use since the 70s. Now it is used for grazing livestock and the owners have kindly built a diving platform, so people can jump into the deep quarry lake. Inside the bowl of the quarry, industrial machinery slowly rusts into the soil. It is an evocative place, a quiet arena cut off from its surroundings, where nature is slowly taking back territory previously lost to human activity.

Next I went to Stevns Klint, a rocky outcrop in the northern end of Salene Bugt just south of Helligdomsklipperne. Here the natural granite rock face is completely different in character. As I had in Bolsterbjerg, I started by dividing the paper into 3 x 5 squares. Then I made a very simple pencil sketch of the whole area I would focus on, making notes and sketches. Returning the next day just after midday, I started in the middle of the painting and worked by way, square by square as time went, finishing in the bottom right square, at about 10 pm. The next morning at 5 am I returned and continued, starting from the top left square, until I reached there where I had begun the day before.

The third venue was Stammershalle, another rocky outcrop further north. Here the prominotory is riddled with iron and bronze age menhir and dolmen and I’ve always felt as though there is a special energy or atmosphere in the area. This time I worked horizontally from left to right. Again, it was an incredible experience to spend so much time outside in one place just looking and looking, and looking…

The fourth place I chose was ‘Peder Olsens Havn’ just south of Hasle on the other eastern side of the island. Here sheltering under a low sandstone cliff I was again completely cut off from everything and anyone and had only the gulls for company. At the end of the first day it started to rain and I struggled to keep the huge painting dry under my shelter. The next morning was the most incredible magical sunrise. Whilst I worked horizontally again, I subdivided the painting according to the Golden Mean. This meant that I ‘changed’ more quickly during those parts of the day that the light changed more quickly (the sunrise and the sunset).

Himmel, hav og fugle gennem dagen. Peder Olsens Havn, Bornholm

The final three paintings were sky studies, where I subdivided the sky into stripes or squares, and followed it through the day. In the painting below, I started in the top left and work down, then started up on the next column, and so on…

Himmel gennem dagen III. Vestermarie, Bornholm

I used pretty much all of August and a bit of September on the paintings. We had a week to install the exhibition, and it went very smoothly, just as it had done the previous times. We the artists worked well together and were ably supported by the passionate and knowledgable volunteers of Gudhjem Museum. Here a photo taken during installation.

I was surprised and a tiny bit disappointed when I saw how my huge paintings shrunk once within the gallery, but overall I was very pleased with the exhibition and my large watercolours. Unfortunately due to Covid there was no PV, but now I just thank the lucky stars that we were able to open at all. Such a fantastic place to exhibit, and in the company of such talented artists. I think our stuff worked really well together – Earthbound IV? Who knows, watch this space…

KYST – postscript

Sunday the 20th of October marked the closing of the fourth and last KYST exhibition at Allerød Kunstforening, and as such the official end of the KYST project, which has – to a greater or lesser extent – been a full-time obsession of mine over the last two years.

Lertippan, KYST 04

To mark the project’s cessation I thought I’d just blog a quick summary of what the project has meant to me and include some observations and some of my favorite images and, in doing this, finally and truly put the project to bed.

Broadly speaking the project has had three phases, all of which were very different in character but had in common a certain amount of communication with the public/my audience – something I’ve not really done much of before.

Firstly, preparation – whilst the first inkling of the idea may well have been born well over 10 years ago, it was during 2017 that the idea really began to take hold and become a reality. I researched the idea, looked into practicalities and bought lots of new equipment and gear in preparation for the trip. I also went online and announced the project, asking for feedback as to what the project should be called, where I should start, whether I should walk clockwise or counterclockwise, and so on. Right from the start it was apparent that the project engendered much interest.


The second part of the project – actually DOING it – was 2018 and was really the ‘easy’ part. Once I had the structure and rules in place, once I had the blog set up, all the gear and software sorted, it was just a question of walking around the island every Friday and painting. Of course, there were challenges in terms of the weather and the long days, photography and writing and doing the blog – and I was also really busy with other freelance work throughout the year – but very quickly the Fridays became incredibly rewarding and the most looked forward to day of the week. As I reached the end of the year and the project’s conclusion I began to really worry about what I would be doing post-KYST.

Sunrise, KYST 37

During the walk I received so much support – from people on Bornholm following the blog, from the local TV station and newspaper, from people following my updates on Instagram and Facebook and so on. This was something I’d not really experienced before – this close connection with people enjoying my work – and it was overwhelming to say the least.

The third part of the project – the book and the exhibitions – has in many ways been the hardest, but no less rewarding. The book was a team effort, and it was amazing to work WITH people again (reminding me of my time as a curator and project manager working in museums and galleries). It was a tremendous amount of work, but I was committed, enthusiastic and passionate about delivering a quality book, and luckily so were the other people working on the project. I am proud of the KYST book and thank God for that – because I’ll be living with it for the rest of my life.

The first KYST exhibition was at Svanekegaarden on Bornholm. Once again I was lucky to be supported by an enthusiastic team at the gallery. Hours before the private view I was still unsure as to whether anyone would actually show up. My brothers and sister had made the trip over and I was feeling giddy with nervousness. The opening was a huge success with hordes of people and sales. The exhibition seemed to strike a chord with local Bornholmers and I was overwhelmed by the positive feedback and depth of the connection visitors made to my work. It was a strange and very special experience.

The exhibition was toured to Aberlady in Scotland and then Holt in Norfolk. In both venues, I completely rehung the exhibition, showing new works each time, and creating new narratives. This has been one of the pleasures of having so much ‘raw material’ (over 520 paintings) to work with – but it has also meant an INSANE amount of planning and organization – which has, at times, resulted in a fair amount of tension and drama. In Scotland, I had, for example, a week to make over 40 new frames. ‘Never again’, I said to myself. Just a few months later I found myself in exactly the same situation as I struggled to make 40 new frames for the exhibition in Norfolk – and then once again, making 60 new frames for the exhibition in Allerød. All through the year, I had been working pretty close to the wire, driving back and forth between Denmark and England, with little time to spare. Thankfully I enlisted the help of family and friends along the way, without which it all would have been impossible.

In Aberlady, I was once again blessed by the support of an enthusiastic exhibition staff – something that makes such a huge difference. The private view was well attended and I was so happy to be able to ‘show off’ Bornholm to a new audience. In Norfolk, at the Birdscapes gallery, the exhibition was equally well received and I was thankful for the professionalism and experience of their exhibition team.

The last exhibition in Allerød was the largest and most ‘complete’ KYST exhibition. I invited nine Bornholmian artists, all of whom were heavily inspired by Bornholm’s nature, to exhibit with me -creating a whole new layer to the exhibition and the project. Again, the opening was incredibly well attended and again I was overwhelmed with all the positive feedback. I had to leave the opening a bit early and take a train to southern Jutland where I was attending an artists’ residency. On the three-hour train journey I had ample time to reflect on the exhibition, the book and the project, and digest all the supportive and affirmative feedback I’d received. Collecting the exhibition just two weeks later I was so thankful for the efforts of the gallery staff – volunteers all – who had managed the installation, manned the gallery and -not least – administered the exhibition sales.

Most of the time I work alone – either in the field or at home in the studio. Sometimes I teach, or have meetings, but generally speaking I am in my own world. When I paint, I’m doing it for me, because I want to, because I NEED to – I try not to think too much about what people might think about what I’m doing. The KYST project has been a completely different experience for me, where I have truly been made aware of the effect my work can have on other people. It is a very strange feeling, and truly, one that I’m not completely at ease with – not at all in fact. But I AM thankful. KYST has been a success – in terms of impact, sales, people reached and so on it has exceeded my wildest dreams. It is a strange feeling. I think back to those incredible mornings, those sunsets, that connection with my environment. I am glad it is all there – my paintings, my book, the blog etc. Now I look forward, with more than a little trepidation, to the next project, the next chapter…

And what will I do now, how will I follow KYST? I have a few ideas for a few projects or ‘structures’, but I’m not really sure yet – other than just getting out there and painting. I’ve still got a few KYST talks to give, and I’m still selling KYST paintings from home (let me know if you’d like a list of unsold KYST works) and the book is still selling – but really, it’s time to move on…

Birdwatch Artist of the Year, 2019!

At this year’s Natural Eye exhibition at the Mall Galleries, London, I was shocked and chuffed in equal measures to receive the Birdwatch Artist of the Year Award. In their own words ‘This prestigious award, held in association with the Society of Wildlife Artists and Swarovski Optik, is given to the artist whose work s considered to be the most outstanding’. My painting of tufted ducks in Rønne harbour was the one they chose, which made me especially happy as is was painted on Bornholm, and shows a scene that many local people will be familiar with (they huddle in the harbour every winter, just by the ferry).

Tufted Ducks on Icy Water, Rønne (sold)

I painted it in January, just after the actual KYST project finished. It was a freezing afternoon, but the setting sun cast a wonderful orange glow on the ducks. The sub-zero temperature meant that I couldn’t really control my fingers, resulting n broadquick brush strokes, and froze the washes of watercolor on to the paper, creating wonderful tendrils and patterns. I absolutely didn’t think ‘my God, its a Goddam masterpiece’ when I finished it, but it has grown on me and I was happy to submit it to the exhibition. I had no idea it would be chosen as the winning painting!

It means so much to me to receive this award, and has been given to me at a very important juncture in my professional life – just as the KYST project, its book and exhibitions, has come to a close, and lots of exciting things are beckoning on the horizon. I look forward to developing my practice and hopefully, one day I’ll feel as though I actually deserve to stand alongside previous and future winners.

KYST, the Book…

(denne side på dansk)

…is finally published. It has been a hard but very enjoyable slog, and I am very proud of the finished result.

Published by NaturBornholm and written in both Danish and English, the book is hardback with 224 full colour pages,, and measures 30 x 25 cm. The forewords are by Bruce Pearson, former president of the SWLA, and Peter Haase, the Director of NaturBornholm. The book is designed by Nye Hughes of Dalrymple Design, printed by Narayana Press, and translated by Marie Lund from Idiomatic, with photography by David Rowan, and additional images by Verner Kjærgaard and HH Pedersen.

The book starts with an introduction, where I discuss the background behind the project and some of the challenges I faced along the way, illustrated with maps and photographs from the trip. Thereafter, the book is divided chronologically, with 2, 4 or 6 richly illustrated pages describing each of the 52 weekly KYST trips, complete with an overview of what I saw, who I met and what was rattling around in my head. In addition there a number of appendices and thumbnails of every one of the paintings I completed within the parameters of the project. The book concludes with the list of 100 names that supported my Kickstarter.

The book can be ordered and paid for online here at NaturBornholm or here at William Dams bookshops’ website. Both webshops are in Danish only but are very easy to navigate (‘levering’ = delivery). The cost is 400kr excluding p & p. Let me know if you have any problems/questions or would like to order directly through me (I have some here and in England).

The KYST Book Kickstarter campaign

(se denne side på dansk her)


Running until the end of March 2019, my Kickstarter campaign aims to raise a minimum of 40,000 kr (about £4,500), in the form of advance sales, for the production of the KYST book.

Follow this link to find out more about the rewards offered and the chance to be one of the ‘Subscribers’ that will be included in the book itself. There is only space for one hundred names, so please hurry.

If you’ve never visited a crowdfunding campaign before, the idea is quite simple. It is an online form of fundraising where people donate money towards a project or outcome. The crowdfunder (me) aims to raise a particular amount of money (40,000 kr) to fund a particular project (production of the KYST book). People interested in donating towards the project purchase products (KYST postcards, the KYST book) on the site.

Kyst cover var 12.detail

If the project target is met, it is my responsibility then to ensure that the products are delivered and shipped as promised. If the project target is NOT met by the end date (31st March), all monies are returned immediately. All financial transactions are managed by Kickstarter and the whole process is absolutely ‘legit’.

The KYST book will be a hardback ‘coffee table’ type book, measuring 300 x 245 mm, with 220 pages printed in high-quality paper by the Danish printers Narayana Press. It will be richly illustrated with hundreds of full colour plates, and will tell the story of the journey, from KYST 01 to KYST 52.

Kyst 13-14

The book will be designed by Nye Hughes from Dalrymple, an award winning graphic design studio based in Edinburgh Scotland specialising in fine art and museum publications. It will be written in both English and Danish, with translation by Marie Lund from Idiomatic translators based in Århus, Denmark. Digital files of the artwork of the highest quality will be produced by Birmingham-based photographer David Rowan. Editing and proofreading by NaturBornholm and Mark Woodhams. It is going to be amazing.

The failure or success of a crowdfunding project is entirely dependent on the enthusiasm and goodwill of its supporters. If you are not able to order a book you can STILL help me by spreading the word. The more people that visit the site and support the campaign, the more chance the target will be reached, which will mean I will be able to deliver a book I can be really proud of.

So please, do visit my Kickstarter site, where you can read all about the book and order one right now…

Thank you for your support in advance, Ben


KYST 52 – from Rønne Harbour South to Rønne Harbour North, 28.12.18

For at læse denne KYST 52 blog på dansk, se her


See here for an introduction to the KYST project

KYST 52 Again, the day was mild with little wind and a thick blanket of cloud. I met Steffan from the local TV station outside the Harbour Office, where I had arranged permission to walk around on the building site of the new harbour. On the sandy building site there was little activity, with most workers off until the New Year. It felt strange to sit and paint on a piece of land that didn’t exist when I started the walk a year earlier, and I was awed by the scale of the engineering project.


I returned my safety helmet, boots and hi-vis vest, and wandered around the rather desolate industrial harbour area, under the shadow of huge silos and smoke-belching chimneys. Older harbour buildings, fishing boats, buoys and nets were juxtaposed against the machines and structures of a modern harbour.


Looking north, the silhouetted spires and red roofs of Rønne were bisected by the masts and radio antennae of fishing boats. There was very little activity or noise, save the occasional whining hum of a passing moped, or the throaty croak of a Great black backed gull.


It was a melancholy day, and I was feeling numb and rather gloomy. I packed up and started walking towards the town, ready to set up camp and boil some water for my Pot noodle lunch, when I was hailed by some friends who had made a bar-b-q in preparation for my coming. A lovely surprise and I continued on in a much better frame of mind, helped no doubt by generous helpings of ‘honningsyp’, a warming local aperitif.

I walked onwards, towards the northern harbour arm with the town on my right. I paused on a small grassy patch, set up the M60 and painted my last view of the horizon, glimpsed between the welcoming arms of the harbour, under a dramatic cloudscape (see top)

I had hoped to paint the Tufted ducks that usually gather in the harbour, but they were nowhere to be seen. I turned my attention instead to the gulls and cormorants that adorned the various piers, platforms and wharves within the harbour, but I struggled enormously to really connect, my senses dulled by the alcohol. Just after I had finished packing up and was ready to move on, the Tufted ducks arrived. Time was running out and I had to hurry to get to the day’s destination and the KYST journey’s end and start point.


Steffan was waiting and I looked around the car park for a while, an underwhelming but strangely fitting place to end the journey. I felt no victorious surge of emotion, just a slight sense of detachment and numbness. I didn’t know what to paint and I recalled a similar sense of confusion that I had experienced almost a year earlier in the exact same place, when I had started the KYST project. Some young Mute swans arrived out of nowhere and I decided to make them the subjects of my last picture, rattled off quickly in the fading light. My wife and some friends arrived with champagne, some fireworks were somewhat miraculously lit at the over end of the harbour, and KYST was over.



Weather report = Cloudy all day. Temperature between 5°C and 6°C. Wind between  5 and 7 m/s from the northeast. Hours of sunshine: 0 hours.

Lessons learned – drinking and painting is definitely not a good combination.

Stops with the M60 = 1

Kilometers walked = 6.83 km

Day lasted = 7 hours, 12 minutes

Birds seen and heard = 17 species (0 new ones = running total 139)

Other stuff = The last two weeks of the KYST project have been carried out under the shadow of a keenly felt grief for the passing of my dear friend, colleague and mentor, Greg Poole – an inspirational artist, teacher and human being who will be missed greatly by everyone who knew him. Greg was an active supporter and advocate of the KYST project and would have been reading these words, had he not been taken away from us. The KYST book and exhibition that I will be working on next year will be created under the stewardship of his watchful gaze, as Greg lives on in my memory, but will be poorer for the lack of his ever present enthusiasm and wisdom.

People talked to = 10 (1 + 2 + 1 + 4 + 1 + 1)

In my head – Greg. The Pokerdudes. The end of the project.


KYST 51 – from Fredensborg to Rønne Harbour, South, 21.12.18

For at læse denne KYST 51 blog på dansk, se her


See here for an introduction to the KYST project

KYST 51 The day was mild, with little wind and a thick blanket of cloud. Abominable news concerning a very beloved friend and colleague occupied every atom of space and every moment of time. The simple act of looking and drawing – of being consumed by the purity and beauty of the landscape – was the only appropriate action.


Some recent visitors to the beach had written or incised their names into the intricate layers of sand and clay sediments exposed on the coastal slope.


From the beach I walked up to the campsite, where I knew I could find roosting long-eared owls. For many generations, Bornholm’s long-eared owls had, for whatever reason, chosen one or two trees in the campsite to spend their daytime roost. Their presence betrayed by a smattering of pellets and droppings, the owls were nevertheless difficult to spot within the thick boughs of the pine tree. I found one eventually and got to work.


Despite remaining stationary, the regular passing of dog walkers meant the owl constantly moved his head.


A local birdwatcher who visits the owls on a daily basis, confirmed there were no less than nine hidden within the tree.


I could have spent many more hours with the owls, but I felt that I needed to return to the coast. From a spot high on the cliffs, I painted the immense sweep of the new harbour arm, still under construction. When I had begun the KYST project 51 weeks ago the arm had not existed.


It was the shortest day of the year, and time had flashed by. I walked quickly through the southern end of the harbour, trying unsuccessfully to get close to the water’s edge. Suddenly the day was over and I rattled of a lightning sketch of the industrial hinterland as I sat nestled between piles of aggregates, twisted metal and wood, with my boots mired in muddy tyre tracks.



Weather report = Cloudy all day. Temperature between 4°C and 6°C. Wind between  4 and 6 m/s from the southeast. Hours of sunshine: 0 hours.

Lessons learned – there are a lot of people walking their dogs around Galløkken

Stops with the M60 = 2

Kilometers walked = 4.68 km

Day lasted = 7 hours, 2 minutes

Birds seen and heard = 22 species (1 new one. Long eared owl = running total 139)

Other stuff = Lots of people came and talked to me today, many of whom were followers of the KYST project. I find it so amazing and humbling to think my work is affecting people in such a positive way, and their positivity really added meaning to my day, my thoughts and my mood.

People talked to = 12 (singles and doubles, and lots of dogs)

In my head – My friend. Strength, courage and the faintest, faintest glimmer of hope. To know what to hope for.


KYST 50 – from Korsodde to Fredensborg, 14.12.18

For at læse denne KYST 50 blog på dansk, se her

See here for an introduction to the KYST project

KYST 50 The lightest dusting of snow disappeared as I approached the coast. Down by the water’s edge, the temperature hovered just over zero. The day was overcast and cold, but there was little wind. The beach as Korsodde was silent and wonderfully peaceful. I sat and watched the colours and tones of the cloudscape gradually mutate and shift and started work on a slice painting. On one of the pauses, I turned around and painted the incredible ochre and russet brown sediments on the slope behind me.


As I passed through the slices on the painting, small delicate showers of ice left their trace on my painting. The last two segments of the painting included the view of the new harbour at Rønne (detail at top).


Eventually I moved on, soon reaching the sandy shore at Onsbæk beach, where a wonderful stand of mature pines overlooks the beach. On the beach itself, the lines left by retreating waves left behind a landscape of peaks and troughs.


Already the sun was beginning its journey back to the horizon, and I stopped under the M60 for some lunch. I walked around the pine forest and looked back down on to the beach, where the M60 seemed to be protected by the boughs of the old pines.


At the end of the beach huge boulders, placed there deliberately to hinder the coastal erosion that threatened the houses up on the cliff, barred my way. I decided to try my luck and see if I could reach my destination in front of the Fredensborg hotel. Nearly two hours later, and soaked in sweat after having clambered on all fours over slippery boulders and dead trees, I arrived – easily the most taxing part of the coast I had encountered thus far. In the greying dusk I painted a couple of mallards bobbing in the waves, while the sleety ice periodically left its mark on my paper.



Weather report = Cloudy all day. Periodic sleety showers. Temperature between 1°C and 2°C. Wind between 2 and 3 m/s from the east. Hours of sunshine: 0 minutes.

Lessons learned – my phone batteries last much longer if I keep my phone in my trousers instead of my jacket.

Stops with the M60 = 1

Kilometers walked = 5.52 km

Day lasted = 7 hours, 5 minutes

Birds seen and heard = 17 species (0 new ones = running total 138)

Other stuff = The coast and the weather now completely remind me of my first few journeys, and the sense of closure and circularity overrides everything.

People talked to = 0

In my head – Son in New Zealand, Dad’s operation, the huge library project and impending deadline.

2018-12-20 (2)

KYST 49 – from Arnager to Korsodde, 07.12.18

For at læse denne KYST 49 blog på dansk, se her


See here for an introduction to the KYST project

KYST 49 Despite a rather horrific weather forecast, Arnager was dry and not too windy. Just as it had last week, the rising sun managed to emerge sporadically between the banks of clouds to cast a golden and pink light across the sea. Workmen were already working on the pier, and I sat down and got to work myself.


I walked on, around Arnager point and onwards, heading west with a fresh wind on my face. To my right a vertical cliff of crumbling chalk, laid down in the Cretaceous. At the base of the cliff, the chalk sediments sat on an older layer of Arnager greensand. Thankfully the water was still very low, meaning that I could keep to the water’s edge, clambering over slippery boulders. Just before I reached Horsemyre Odde I sat and looked back towards Arnager and enjoyed the dramatic and dynamic skyscape. Just as I finished this painting, a thick fog swept in off the sea and completely changed the day.


I stumbled onwards on the pebbly beach, around Horsemyre Odde with the airport fence just visible running along the top of the cliff. There was not a soul to be seen and the local name for this place ‘The End of the World’ felt very apt. Of all the places I had been on Bornholm’s coast, this truly felt the most deserted and least visited. The naked and twisted trees, pounding surf and grey fog all lent a bleak and melancholic feeling to the day.


Soon however the fog cleared and the sun even emerged for a while. A Rough-legged buzzard hung almost motionless in the updraft, adjusting its wings and tail and scanning the grassy clifftop for rodents. I grabbed my telescope and followed it for a while as it patrolled the coast, drawing vigorously and without really looking at the paper. An iconic bird of my childhood I felt blessed to be able to share time and space with such a wonderful creature.



The short day was running away from me and I was nowhere near half way. I trudged on over the slippery pebbles and rocks, marveling at their diversity of form and colour. The Arnager chalk had now been replaced by Bavneodde Greensand -deposited in the upper Cretaceous some 70 million years ago and Bornholm’s youngest sediment. Now, for the first time, in the far distance I could see cranes working on the new harbour arm at Rønne – the town where I had begun this journey 49 weeks ago.

The weather was closing in now, and just before I reached Bavnodde I started to work on a large slice painting. I was hoping to follow the rain clouds that I could see approaching over the sea, but very quickly a fine mist descended which made working conditions very challenging. I tried to work with the mist, covering sections and allowing the water droplets to settle of the pigment, but soon it all descended into a wet and soppy mess (detail, see also top).


By the time I finished the last section the day was almost over and I still had a way to go. I reluctantly left the beach and walked up to the clifftop, where there was a path that quickly took me to the end of the airport at Korsodde, and a waiting car.


Weather report = Cloudy or foggy for most of the day, with some brief sunny spells. Mist and rain in the afternoon. Temperature between 7°C and 9°C. Wind between 7 and 3 m/s from the west. Hours of sunshine: 30 minutes.

Lessons learned – don’t leave a duck wing in your bag for a whole week, it will stink – remember to unpack!

Stops with the M60 = 1

Kilometers walked = 6.51 km

Day lasted = 7 hours, 26 minutes

Birds seen and heard = 16 species (0 new ones = running total 138)

Other stuff = At last! I found a message in a bottle. Or rather a message next to a broken bottle. It read: ‘I am also a Dane, much love’ in both Danish and Japanese…?!

People talked to = 0

In my head – Son in New Zealand, Dad’s operation, the huge library project and impending deadline.