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KYST 41 I arrived early and unpacked my things in good time. Although the day was mild and the sky completely cloud free, the onshore wind was cold and I regretted not taking my gloves and hat. After the last week’s unsatisfying KYST tur, I was in good spirits and eager to get to grips with the day. I painted the silhouetted pine trees with the blood red sky behind, including the metal cables visible on the beach that used to connect the 2nd WW German coastal fortifications on Bornholm with those on northern Poland.

I walked along the coast for a while. Wave-smoothed skeletons of pine trees, claimed by the vagaries of wind and wave, lay strewn amongst the surf. Some, more recently fallen, still retained branches and even pine cones. There were few birds and the incessant rumble of the tumbling waves filled the air.

I rounded the point of Sommerodde, and continued westward, the wind strong on my back. To my right, a thick and impenetrable forest of stunted pines, planted in the 1860s to halt the movement of the shifting dunes. The shadows on the sand caught my attention.

The wind and grass combined to draw circles in the sand.

Again, I quickly descended into a funk of self-loathing and dissatisfaction with how the day was progressing and how I was reacting to it. An all too familiar feeling of frustration meant that I grabbed wildly after things, instead of letting myself be taken in. I thought the intricate seaweed patterns at Stenodde might calm my nerves, but to no avail. Whereas I had been too cold, now I was too hot.

I carried on, and soon arrived at the mouth of the Øle stream. The many months of dry weather had reduced Bornholm’s longest river to an almost negligible trickle, and despite the unseasonably warm weather – or perhaps because of it – my thoughts drifted towards the environment and impending ecological Armageddon. A large flock of mute swans feeding in the surf caught my attention but I struggled with their movement and the constant bobbing of the waves (see also top).

I watched a swan sitting on a large flat-topped erratic boulder close to the shore. I accidently spilt some water on the painting and everything got covered in sand. I came close to breaking a KYST rule and destroying it. I was about as low as I had been during the KYST project.

Another swan managed to get up on to the rock, and the two swans wrestled and pushed against each other. Eventually they both lost their footing tumbled into the sea together – it was a random and amusing little spectacle that somehow put things into perspective and cheered me up. I walked around for a while, and collected a group of colourful leaves.

From my perch on a dune overlooking the sea, I got to work on a slice painting. The completely cloudless sky created a different kind of sunset with enormously subtle graduations and blends of colour and tone. I struggled with the changing light and colour and fought hard, trying to depict the delicate tonal values. As the sun finally fell below the horizon the colours deepened, with the sky becoming a sort of strange muted horizontal rainbow.

KYST 40
Weather report = Unbroken sun all day. Temperature between 13°C and 18°C. Wind between 7 and 2 m/s from the southeast. Hours of sunshine: 11 hours.
Lessons learned – No lessons learned. Today, looking through yesterday’s work, I am actually pleasantly surprised. Next time I start to ‘lose it’ I will try to remember how I feel today. I’m not doing this to be ‘happy’, but it shouldn’t be such a slog. I’m doing this because I love looking.
Stops with the M60 = 0 (I didn’t take the M60, for the first time)
Kilometers walked = 7.50 km
Day lasted = 11 hours, 11 minutes
Birds seen and heard = 34 species (2 new ones: White fronted goose (many hundreds, migrating) and a Hen harrier – running total 135)
Other stuff = it feels so ‘civilized’ now. I wake up at a ‘normal’ time and am back home by 7pm. I miss those long days of summer.
People talked to = 4 (2 + 2)
In my head – The KYST book, applications and so on.































On the shore, two women on horseback thundered up and down the beach, laughing with an unbridled abandon. Just when I thought the morning couldn’t get any more spectacular, a lone kingfisher darted out and flew low, dart like, over the surface of the mirrored sea, and disappeared into the sea mist.
When the kingfisher returned and perched on a nearby rock I resolved to not paint and just soak in the atmosphere instead. I couldn’t though, and soon got overinvolved with a reflective gull.
The previous week I had been teaching a field painting course at Bornholm’s Højskole, and the lessons of the week were still fresh in my memory. I tried to not get too upset with the reflective gull disaster, and just carry on (‘…don’t judge and keep working’). I lost myself in some herring gulls feeding in the bay, the sea mist long having been burned off by the rising sun.
Before moving off from my perch at the end of the pier, where I had now been for many hours, I tackled the solar reflections on the surface of the water. I wanted to show how the green seaweed, rocks and innumerable jellyfish below the surface of the water replaced the reflections of the sky towards the bottom of the visual plane, but failed.
I finally packed my things and started to walk on Balka beach towards Snogbæk, the day’s destination. I stopped again rather quickly, wanting to capture the sweep of the bay, with Snogbæk pier in the far distance.
As I was painting, the first flocks of graylag geese flew overhead, returning to spend the day at Nexø Sydstrand, last week’s start point. I quickly drew the mutating shape of a large flock of several hundred geese, as it passed by.
As I continued walking along the beach my eye was caught by the rills, folds and patterns in the sand caused by the action of the waves lapping at the shore, together with the tracery left by mica, crushed mussels and seaweed. A sandbank created a lagoon of completely still water that reflected the clouds scudding by in the dynamic skyscape. I made two studies (see also top)
I carried on along the beach all the way to the end of the bay at Snogbæk, where I set up the M60 and had lunch and a really good sleep. On waking I looked towards Salthammer Odde, the great shelf of grey balka sandstone that juts out from Snogbæk and continues under the sea, attracting a rich diversity of sealife and birds. All week with the students we had been concentrating on tonal values and working with ink, which I had bought along. I tried to capture the movement of the feeding frenzy on a bank of seaweed, where gulls, geese, crows, pigeons and starling all worked together feverishly, hoovering up sandflies and the like.
I worked again with the ink, trying to capture the dynamic shapes and silhouettes and making inky marks with sticks, feathers and seaweed.
I packed my things and walked on to Snogbæk, taking time out to look and listen before continuing with painting again. I turned my back to the town, an eclectic and unpretentiousness mixture of tourist cafes, bars, summer houses and fishermen’s’ huts, and looked instead towards the sea. After a detour to the local supermarket I sat on the sandstone bedrock, hidden amongst the vegetation, and looked with my scope towards the multitude of gulls preening, sleeping and standing stoically in the early evening breeze.
The day finished quickly and I had no time to draw the six curlew that arrived just as the sun was setting and my lift arrived.














































