Brooklyn, 20th of february 2006. Sunshine. Cold. Beautiful. My work is here and Alex’s is going down. It is going to be great. Gee. Dad. Isn’t life swell.

I am psyched and can’t wait for Friday - climax.

Everybody is coming from near and far, and I am pretty excited. How about you?

Directed by Brian Lee Hughes, Thomas Hallas Øvlisen appeared in his first role since his famous part in the 1993 high school version of Treasure Island. Back then it was Ole Lund knudsen who did his best to shine next to the young super nova. Today Ada Bligård Søby was one of the other stars, but non of them made quite the impact of Thomas the Great Dane.

In his role as Olivier, Thomas made damn sure that the whole world knows he is coming. To not walk before crawling his starting point was an advertising campaign for The Comedy Award Show something like that produced by the horseriding canadians from Reginald Pike. Thomas has through his agent expressed his greatest thanks to his co-stars, Brian and everybody at Reginald Pike and the production company Molotov.

Outside Ringsted, an hour or so south of Copenhagen, is a small farm- housing not a farm but a shipping crate workshop. The deal was I had to bring it all there by Friday before noon. No problemos. Simon was shooting it all with his nice digital Hasselblad and then it was just to roll down there with the big trailer filled with art.

The 4×8 footer was getting there, I really liked it, but felt it could use just a little more - the same with the 2×4′. Nothing major, they both looked good, but a little something might just do the trick. Looking through my buckets of paint I stumbled upon some old stuff, from my first solo show at v1 gallery in 2003. Cool. I figured - a little homage to the past, but in my eager and quest for fulfillment I threw on a little bit, then some more and in the end both paintings were 2/3rds covered in my light blue dedication.

All right! Going back from studio I was excited. All it needed was to dry, and then I would come back next morning, sand it down, add some magic, and then it would be ready for Simon, shooting and foreverness. SHIT. Fuck. Fuck. Fuck. The paint I so gratuitously had plastered all over my paintings had clear coat included in the mix, meaning it was two component paint, and I had not used the second component. Fuck. Fuck. Fuck. A layer of sticky goop all over my shit. I went back to studio, covered the painting in solvent and retarder - hoping it would join the mass and harden he paint, but it didn’t.

Thursday morning and the painting is fucked up. Hi Simon, it’s Thomas; I am sorry nut I have to cancel the shoot. The shit is fucked up. So I tried to salvage what could be, but whatever I tried kept making matters worse and finally I started scraping off goop. The small painting came out great - life was looking good, but the bigger brother, just wouldn’t turn around that easy. I scraped and painted and scraped paint off again - and nothing would do the trick.

Desperate measures were needed. I had this small kit of glass fiber and epoxy, and it covered a small piece of scraped and gooey surface. It hardened quickly and looked awesome. The painting still lacked some overall coherentness and my efforts to make a painting within the painting were turning out wicketiwack. Finally I turned to glass fiber putty and all started looking good. It still needed some work and a thin final layer leaving a few areas open made it all work.

That was Friday morning and I loaded the almost dry painting into the trailer and rolled off towards Ringsted. I Unloaded and headed home. My shoulders felt as light as feathers and guess what the sun actually started shinning.