COPYDAN VISUALANNUAL REPORT 2015

DID YOU KNOW THAT ...Copydan Visual also represents comic and cartoon creators.

Lucky Luke has always been faster than his own shadow, and therefore he was, of course, also one of the first to quit smoking. It meant that in 1983, the classic album back cover was changed so Lucky Luke posed with a blade of grass in the corner of his mouth instead of a cigarette. Lucky Luke celebrates his 70th birthday in 2016. Lucky Luke was invented in 1946 by the Belgian cartoonist Maurice de Bevere, better known as Morris.

Les Tontons Dalton I © Dargaud, by Achdé, Pessis, Gerra I All rights reserved www.dargaud.com

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WELCOME!Images create value. Messages are carried in images. Our attention is caught visually. This is a fact that more and more have begun to recognise and achieve good results from. We constantly use images in our communication, because the image supports, documents and clarifies messages that words cannot. The digital age is indeed upon us, and in all contexts the visual con-tent is crucial for impact and success. This applies to teaching, work, life on social media and digitisation of cultural heritage. Copydan Visual is a non-profit collective copyright management organization founded by image creators and approved by the Danish Ministry of Culture. We give all types of image users easy access to art, photographs, drawings, illustrations, etc., at a reasonable price. And we ensure that the money is paid to the image creators. As a way to emphasise that we represent all types of images, in 2015 we changed our name from Copydan Visual Art to Copydan Visual. In 2015, we paid DKK 53.2 million to over 7000 different rights- holders, as well as cultural projects. These are record figures. Fertile ground was thus created for new art and image production for the benefit of us all. We hope you enjoy reading about the past year.

TORBEN GAMMELGAARD PETER THORNVIGCEO Chairman of the Board Photographer

ILLUSTRATION: JØRGEN BITSCH, BLADTEGNER

DID YOU KNOW THAT ...Copydan Visual also represents cartoonists.

Danske Bladtegnere (Danish cartoonists) was formed in 1933, and over the years has included names such as Robert Storm Petersen, Eiler Krag, Ib Spang Olsen and Arne Ungermann. It was not until the beginning of the 1900s that it became technically possible to print line drawings into newspapers, and the newspaper edi-torial offices began to affiliate with artists who could criticise the establishment and aspects of society using satirical drawings.Read more on www.bladtegnere.dk

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What would you like people to get out of your pictures? I try to ensure that those who look at my pictures must have the space to think and believe what they want. Therefore, it does not necessarily have to be anything too specific; it’s fine if you see something that makes you think, “What does this have to do with that?” Of course I have my own overarching purpose, and then it is really up to the viewer to get out of it what they want. I do not want to control that.

What are your favourite materials?I have started working a lot with oil and larger formats. It took me a few years before I felt I was ready for it, as there is such reverence about the material, because that was what the great masters used to develop their craft. But now I’m starting to find my technique. I also really like working with paper, especially old cardboard, which I buy and find in different places. Not because it has to look old and worn out, but I like the challenge of working with a material that behaves unpredictably. Even if sometimes it does not work out, because the cardboard shrinks and bends.

What does it mean to you that there is an organization like Copydan Visual that safeguards the rights of artists?There is great comfort in the fact that my pictures do not suddenly appear on a porcelain series without my consent, or are printed as posters and sold at a tenth of the original price. I feel privileged to live in a country where an organization like Copydan Visual takes care of protecting artists’ rights.

Why did you decide to become a full-time artist?I have always painted, but I came to a point where I could feel that if I was going to go further with it, then I had to put more energy into it. Both to be good enough, but also to have a sufficiently high output. It also fits very well with where I am in my life right now. I have a wife and two children and a life where I need to get home and cook, so that I am usually here from 9-16:30. Unless I have a deadline – then I will stay all night.

What inspires you?I like to walk around the city with a camera and take photos: Stairwells, people, things I find on the street. I love architecture and the cityscape, I absorb the city’s electricity and energy – for better or worse. It is also stressful and dirty to live in a big city, but I like that and make it a part of my work.

How would you describe your style?For some time I have been doing what I call ‘fragmentarism’, because I put small fragments together in the picture so that it creates a narrative. It is often things that do not necessarily fit together. If you put two pictures together that do not immediately have a relation to each other, then something interesting happens.

BY LOUISE KIDDE SAUNTVED I PHOTO: DITTE VALENTE

THE MULTI-ARTIST

THE PAINTER. Kasper Eistrup has been painting and drawing from a very early age. For the past 25 years, however, music has taken up more of his time than painting by virtue of his role as the lead singer, guitarist and songwriter in the Danish band Kashmir. However, last year Kasper Eistrup started concentrating on being an artist full-time, and he enjoys having a working day in his studio on Vesterbro in Copenhagen.

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53.2 MILLION DKK

7000 RIGHTSHOLDERSFOR THE BENEFIT OF

© Mie Mørkeberg/copydanbilleder.dk I Untitled (Dannerhuset) I 2012 I © Gallery Tom Christoffersen

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Images create value. Educational, communicative, commercial and cultural. Visual communication makes us understand and remember messages. 2015 was another good year for Copydan Visual and for the visual world. We entered into new exciting agreements concerning the use of all kinds of images, photographs, illustrations, drawings and artworks, both digital and analogue.

ANNUAL REPORT

MILLIONS OF DKK IN PAYMENTS TO RIGHTSHOLDERS

2009 2010 2011 2012 2013 2014 20150

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47,3 48,453,2

37,9 36,6

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REMUNERATION DISTRIBUTION OF MILLIONS TOTAL REMUNERATION: DKK 61.3 MILLION

• Allocations and remuneration payments for artists in Denmark and abroad• Customer enquiries and rights clearance• Issuance and administration of ongoing licensing• Administration of the resale rights scheme/ auction houses resale• National and international copyright work/various councils and committees• Maintenance of artist records• Searching for rightsholders• Copyright advice to members• Financial management, IT systems and operations• … and much more

MONEY FOR ARTIn 2015, Copydan Visual distributed DKK 53.2 million to Danish and foreign creators of pictorial works, which is an increase of 10% compared to 2014, and thus a new record. There is no doubt that image licenses and resale rights are an important contribution to the visual part of the Danish cultural life and experience economy.

7000 artists received payment for the use of their works through Copydan Visual and acquired a contribution to creating new and exciting content to the benefit of us all.

Overall, we received DKK 61.3 million in remuneration and had administrative expenses amounting to DKK 8.1 million.

This clearly shows that the Copyright Act, when used as a tool in collaboration between users and image authors, is the key to successfully ensuring of easy and simple access to legal image use.

You can read the detailed annual report on www.copydanbilleder.dk

Many public institutions and private companies currently utilise the opportunities that lie in communicating their messages through images.

This means that the creators we work on behalf of, such as painters, cartoonists, illustrators, photographers, graphic artists and sculp-tors, are ensured that their copyright is respected and they get paid for their work through the various agreements.

As a non-profit organization established by the Danish image creator organizations, Copydan Visual acts on behalf of individual creators. We are approved by the Danish Ministry of Culture to both make broad licenses for the use of visual arts and to manage the so-called resale right scheme, where artists get a fee when their works are resold by auction houses, art dealers, etc.

LIVING TEACHING WITH IMAGESToday it is a matter of course to use digital images in teaching. All Danish educational institutions have a license agreement with Copydan Visual about using images from the Internet.

It’s very affordable, too. It only typically costs DKK 1-2 per pupil/student per month.

The remuneration of teaching agreements is fairly stable compared to 2014. For the digital image agreements, remuneration totalled DKK 19.2 million and for photocopying in schools and commercial businesses it was DKK 25 million.

ART AND CULTURAL HERITAGEAt the country’s many auction houses and art dealers, everything from traditional art to furniture design got new owners. The royalties for artists from auction houses and art dealers’ resale of art rose to DKK 9.3 million in 2015, compared with DKK 9.0 million in 2014 and DKK 7.6 million in 2013.

Efforts to open up the Danish cultural treasure trove continues at full force. Both private and public companies are making their ex-citing, old magazines and journals available to the Danes. It ranges widely from Ingeniøren to Samvirke and works on the First World War. Copydan Visual clears all image rights at once on behalf of photographers, illustrators and other image creators who have contributed to the publications.

Danish television series are currently experiencing a lot of inter-est from abroad. It also benefits a large number of artists. In DR’s (the Danish Broadcasting Corporation) drama series Borgen and Arvingerne, art also plays a part. Works of art actively contribute to the character drawings of series. When the TV series are shown on Danish and foreign TV channels, the artists get money for any of their artworks that are used. This is done through an agreement between DR and Copydan Visual.

During the year, we also licensed the use of individual works of art in, exhibitions and books among other things, including the lovely exhibitions “Matisse and Eskimos” at Ordrupgaard and “Man Ray Human // Equations” at Glyptoteket.

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What is your most important tool when you have to get really close to another person?My personality. My job is to tell stories about people. To meet people. A portrait is a condensed meeting with a stranger, and therefore it is very important that I get people to feel comfortable and at ease, so they dare to let go and put a part of themselves in my hands and in the photo. If I can do that, then that’s good. The good portrait must have an opening into the person, so people can sense that something is going on behind their eyes, which one can become curious to know what it is.

What does it take to be a good photographer?I am insanely passionate about my profession, and I think that is essential. To be a good photographer, you must do your best, you have to take it seriously, and you have to really want it. You have to work hard, and you must dare to challenge yourself and throw yourself into something. And you have to photograph all the time, as much as possible. Even when you’re not photographing, you have to photograph inside your head. Photographing is of course also a way of experiencing something.

What does it mean to have an organization like Copydan Visual to safeguard your rights?It’s great that there is someone who cares about what I do. For me, it’s most about the signalling effect of it. That people understand that photos, like all other things in life, have a value.

When did you know you wanted to be a photographer?I got a reflex camera from my parents as a confirmation gift, which I started using. I grew up in West Jutland and there was not very much to photograph, so I took photos of the nature and myself – that was what I had at hand. The photographs I looked at were also nature photographs. Later I went to art photography at the Fatamorgana photo school, but it wasn’t something you could make a living from, so I went to the Danish School of Media and Journalism, where I trained as a photojournalist. Today I am a freelancer and doing mostly portraits and documentary photography – it’s something a little different to when I started.

You take many portraits – why?When I was younger, I was shy and not crazy about photographing people, so it is strange that such a large part of my work today is portraits. Taking a portrait is a very special situation, which you cannot compare with anything else. You get special access to complete strangers, and can break down boundaries much faster than you otherwise would, because there are some implied rules, for example, that after two minutes I may get right up close and stand and look people in the ear if they are standing in profile.

THE ART OF GETTINGRIGHT UP CLOSE

THE PHOTOGRAPHER. It is only 2 years ago since 31-year-old Lærke Posselt completed her training as a photojournalist. Yet she has already achieved more than most, among other things, she has won Press Photo of the Year and World Press Photo, been awarded the Danish Crown Prince Couple’s Stardust Prize and had her photos printed in media such as The New York Times and Le Monde. Most recently, she has had five photos accepted for the Spring Exhibition at Charlottenborg.

BY LOUISE KIDDE SAUNTVED I PHOTO: DITTE VALENTE12 13

GET A WORKPLACE AGREEMENT FOR YOU AND

YOUR EMPLOYEES

THEN YOU CAN FREELY USE IMAGES FROM THE INTERNET INTERNALLY IN THE COMPANY

GRAPHICS: CHRISTIAN EBDAHL

WORKPLACES14 15

PHOTO: MASKOT/POLFOTO

METTE CLAUSEN Head of ComlianceRoche A/S Denmark

“ At Roche, it is important to keep track of all rights, and that we keep our own house in order. That is compliance. We make a living from rights, and it is obviously important for us to respect others’ rights. With a Copydan Visual agreement we have cleared all employees’ use of images with one stroke, while at the same time, the money goes to the photographers, illustrators and others who create images.

IMAGE LICENSE FOR WORKPLACESImages on the Internet, such as Google, are protected by copyright, even when they are only used internally in the workplace. Without an image license, it is illegal to use images without the permission of the rightsholders cf. the Copyright Act § 2. The license documents that your copyrights are in order. It also serves as an insurance against compensation claims from rightsholders around the world.

WITH AN IMAGE LICENSE EMPLOYEES CAN• Use images in PowerPoint presentations and similar tools, for instance in meetings, lectures and courses• Use images in internal instructions or manuals, both digitally and in print• Use images on the company intranet

REGISTER THE COMPANYOn copydanbilleder.dk or via billeder@copydan.dk.It is easy and simple. There is no ongoing administration or reporting.The annual price is DKK 50-500 per employee depending on company’s line of business.

WORKPLACESCopyright also applies to imagesfound online. Even if the imagesare used behind closed doors ina company. Copydan Visual existsto clear those types of rights.

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MORTEN ROSENMEIER Professor of copyright,The University of Copenhagen

DID YOU KNOW THAT ...All kinds of workplaces, both private and public, require an image license to use images from the Internet. We have agreements with numerous companies and organisations from verydifferent industries, including Kammer-advokaten, Dansk Journalistforbund, Roche, Danske Regioner, Bech-Bruun, Lederne, Danske Forlag, PET …

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I NEVER READ. I JUST LOOK AT PICTURES.

ANDY WARHOL© 2016 The Andy Warhol Foundation for the Visual Arts, Inc./copydanbilleder.dk

INTERNATIONAL

ASSOCIAÇÃO BRASILEIRA DOS DIREITOS DE AUTORES VISUAIS

Società Italiana degli Autori ed Editori

ASOCIACIJALATGA

la saif Société des Auteurs des arts visuels et de l'Image Fixe

GROWING INTERNATIONAL INTERESTIn February 2016, we were visited by Takahiro Kojima, Ph.D., Associate Professor, Faculty of Law, Chukyo University in Japan, who came to learn more about the extended collective licensing model. With extended collective licensing, educational institutions, businesses, cultural institutions, publishers and others can use all sorts of images with a single agreement without having to seek permission from each individual rightsholder. It also ensures that money goes to the image creators.

The visual language is an international language that requires no translation. Images can be seen immediately and move us.

Copydan Visual participates in many international collaborations, Nordic, European and global. This means that Danish image creators’ rights are protected abroad, and that we can give Danish users easy and fast access to all sorts of images from around the world. We work with copyright in an international context. Exchanging experiences between countries enhances effective management of rights. Art and images bind us together.

PHOTO: CHRISTIAN EBDAHL FROM THE LEFT TO THE RIGHT: TORBEN GAMMELGAARD, TAKAHIRO KOJIMA AND BO TIELDAL20 21

NORDICCopydan Visual collaborates with Bildupphovsrätt (Sweden), BONO (Norway), Kuvasto (Finland) and Myndstef (Iceland) on the valuable exchange of experiences about both legal and administrative issues. Copyright in the Nordic countries is based on the same structure.

EUROPEANEVA (European Visual Artists) is the association for European visual collective copyright management organizations. The organization has office in Brussels, and through them, we work to ensure image creators fair conditions and rights in European and international legislation, and to make copyright licensing easy and simple for users of art.

NEW EU REQUIREMENTS FOR COPYRIGHT MANAGEMENT From 2016, there are new EU requirements for collective copyright management organizations. The rules are about transparency and good practice, and this is well in line with the way we already administer copyrights. However, in some places we need to do things differently in the future, and therefore in 2015 we focussed on preparing for when the new rules come into force.

2015 was also a year in which copyright came into focus in the EU, with, among other things, the EU Parliament’s report with proposals for copyright areas that could be reviewed. Copydan Visual is working hard to ensure that the efficient systems, like those we have in Denmark, can be preserved and continue to develop. Efficient copyright systems are a benefit to both users and rightsholders on a daily basis. They also ensure users wide access to use images and payment to image creators for their work.

GLOBALCIAGP (International Council of Creators of Graphic, Plastic and Photographic Art) is an association of visual copyright management organizations from around the world. CIAGP sets standards for good and transparent rights management. The organization has, among other things, introduced the international IPI database system to identify image creators, which makes it possible to identify the correct creator.

Copydan Visual participates in a number of key working groups where we work to simplify clearance of international image rights and simplify administering remuneration that crosses international borders.

OLA (OnLineArt) is an association of the visual copyright management organizations that all share worldwide rights for the online use of images. The OLA collaboration consists in particular of management organizations from Europe, the USA and Australia, and it also works together with its Latin American sister organization, LAT-ART.

In OLA, participants share experiences and knowledge on good practice to safeguard image rights online. The collaboration strengthens access to the newest and most successful business models for imaging licensing for the benefit of customers worldwide.

GRAPHICS: CHRISTIAN EBDAHL22 23

Are there any of your books that you are particularly proud of?I am very pleased with the one called Decimal 4.0, although hardly anyone bought it. It is a cartoon series in complete free diary form, where I did a page a day on what happened to me during the day. It was not actually supposed to be published. I did it at a time where I was stuck in a rut and I thought that I had to draw something every day to keep me going. But I’m really pleased that it was printed, because it is the most honest work I have done.

What does it mean to you that your rights are being taken care of?Copyright is threatened by digital media. The Internet allows things to spread much easier, and to many people it probably does not feel like a gross violation of copyright if you decide to borrow an image and use it. That is why I am incredibly pleased that there is someone who takes care of it.

What comes first when you work – the story or the pictures?They come at the same time. I usually say that I am a 60% picture person and 40% text person, but one does not come before the other. I visualise it a bit like a film I am watching while I work: “So, they meet and talk, and then he says this or that.” What is being done and what is being said are of equal importance.

Where do you find inspiration?It is a mixture of childhood experiences, films and books that have made an impression on me when I was younger, mixed with something more archetypal: Dreams and a variety of other things.

How would you describe your style?Hmmm ... I have never thought about how I draw. It’s become like my handwriting, so I can’t change it. I draw how I draw. But when I see my own drawings, I always think: “Why didn’t I make more of an effort?”

What is your working day like?I prefer not to make too many plans. I like to be surprised and feel like I am reading the book myself while I’m making it. It’s a bit like the fairy tale of Jack and the Bean Stalk; I have a vague idea about sowing something, and then something unusual comes up. But I wish I could get started a bit earlier. When I finally get going, I draw a little, then I have a cup of coffee, then I draw a little again, then I go for a walk, and then I draw a little more and then I pick my son up from school. I know I could work faster, and I often think that I should find a way to be a little more disciplined.

BY LOUISE KIDDE SAUNTVED WORKS: JAKOB MARTIN STRID/GYLDENDAL I PORTRAIT PHOTO: MORTEN HOLTUM

ROOM FOR SURPRISE

THE CARTOONIST. Cartoonist, illustrator and author Jakob Martin Strid became really well known for his satire series Strid in the Danish newspaper Politiken, and had his breakthrough with children’s books in 1999 with Mustafa’s Kiosk. Since then, success has followed success for the popular storyteller, most recently with his picture-book novel, The Incredible Story of the Giant Pear, which has been translated into nine languages.

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WINNER OF PRESS PHOTO OF THE YEAR 2015: JACOB EHRBAHN, POLITIKEN

PHOTO: JACOB EHRBAHN

DID YOU KNOW THAT ...The Press Photo of the Year has been held since 1974. The competition must set the highest common denominator for photo- journalistic ethics.

A total of 177 photographers participated in this year’s Press Photo of the Year. They submitted a total of 2710 photos and 68 multimedia productions. Of these, 37 press photographers were nominated for one of the 15 prizes.

A total of 868 photographers are repre-sented by Pressefotografforbundet (the danish press photographers association), which awards the Press Photo of the Year. Pressefotografforbundet (the danish press photographers association), was founded in 1912 by six Danish photojournalists and is the world’s oldest association for press photographers.

Copydan Visual collects and distributes a remuneration to a large number of pho-tographers every year.

Press Photo of the Year, Denmark’s biggest photo prize, was awarded on 4 March 2016. Jacob Ehrbahn’s photograph of a refugee family, who are attempting to crawl under a barbed wire fence marking the border between Hungary and Serbia, was selected as the Press Photo of the Year.

The jury said:“In just a single photograph, Jacob Ehrbahn has succeeded in capturing the entire big story: The world is in distress, people are fleeing and we are trying to keep them out. The photo sums up the whole situation, or catastrophe, if you will, and it has strong references to the past. It is, in other words, an iconic photo of the year’s greatest event. At the same time, it is flawless, picturesque and shows very explicitly, but with many facets, what is at stake. This photo is not the result of luck. It was taken by a talented photographer who knows where he should be, and who thoroughly prepares his material. Therefore, there was (to the judges’ own astonishment) unanimous agreement and no need to discuss at all whether to make this photo the Press Photo of the Year.”

The photo is also part of the series ‘The dream of a better life,’ which won the Foreign News Photo of the Year category.

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“Using digital images in teaching offers many learning opportunities. It creates nuanced ways of thinking and understanding, while also expanding possibilities for the creation of meaning.

MIE BUHL PH.D.ProfessorAalborg University

DID YOU KNOW THAT ...All Denmark’s educational institutions, including public schools, colleges and universities have entered into agreements with Copydan Visual since 2008. This means that the institutions’ teachers and students are free to download images from the Internet, for example, via Google, and use them in assignments, projects, presentations and on USB memory sticks ...

PHOTOS: DITTE VALENTE (2, 6, 7) I JAKOB BOSERUP (1, 3, 4, 5, 8)

Images catch the eye. Students think it looks interesting. I use images in presentations, on worksheets and on

our internal website.

TANIA SHEIKH LARSEN Upper Secondary School Teacher

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SUSANNE VESTERGAARD Upper Secondary School Teacher

Now we can also talk about the most current topics in teaching, because we can use images from the Internet. So I can easily teach about what is new and show photos of something that may have only happened yesterday.

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Images make it easier when I have to explain or understand something, for example, in subjects such as biology.

It is easier to remember when I have seen something visually.

KATRINE2. G

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PHOTO: KULTURMINISTERIET/METTE UDESEN

In the digital information society we have daily access to a virtually unlimited amount of information from both Denmark and abroad. In this context it is important that we do not only recognise the value of the written language, but also other evocative forms of expression.

The visual form of expression helps inform, inspire, arouse emotions and underline opinions. Due to the value of visual works, it is important that the balance between artists’ rights and the interests of society are maintained.

Organizations like Copydan Visual help ensure this balance and that images and artworks can be used on reasonable terms in teaching, at the workplace, in the media, museums and many other places, while the artists also receive a fair payment for use of their works.

BERTEL HAARDERThe Danish Minister for Culture

“THE DANISH MINISTERFOR CULTURE

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Den lille drillesyge fugl med det legendariske grin blev født i USA i 1940. Den danske tegner Freddy Milton gav spætten liv i Skandinavien fra slutningen af 70’erne. Men hvad var det, der gjorde Søren Spætte til en verdenssucces?

”Det var ligetil komik. Øretæveindbydende og sjovt. Som tegnefilm var der først og fremmest fart over feltet, men i albumform opbyggede vi et mere nuanceret univers”, fortæller Freddy Milton. ”I bund og grund var det bare sjov ... Se mere

20. november 2015Copydan Billeder

(Foto: Interpresse)

copydanbilleder Fælles indsats: Vi arbejder på højtryk for at få de sidste detaljer i Årsberetning 2015 til at falde på plads. Vi kan allerede nu afsløre, at den bliver fyldt med spændende kunstnerinterviews, vigtig viden om årets gang på Copydan Billeder – og selvfølgelig masser af flotte billeder. Årsberetning 2015 udkommer 15. marts.

Du kan naturligvis også læse tidligere årsberetninger på vores hjemmeside www.copydanbilleder.dk.

Foto: Kasper Jensen

#visualculture #artmatters #weloveart

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MEMBER ORGANISATIONS

Billedkunstnernes ForbundDansk Forfatterforening, IlustratorgruppenDansk Fotografisk ForeningDansk Journalistforbund: Danske BladtegnereDansk Journalistforbund: DJ: FotograferneDansk Journalistforbund: PressefotografforbundetDansk Journalistforbund: Visuelt ForumDanske Billedkunstneres FagforeningDanske KunsthåndværkereDanske TegneserieskabereFilm- og TV ArbejderforeningenHk Privat . Tegnere, Grafikere og IllustratorerTegnerforbundet af 1919

Bryggervangen 8 2100 Copenhagen OE, DenmarkPhone +45 35 44 14 91billeder@copydan.dkwww.copydanbilleder.dk

Copydan Visual is approved by the Danish Ministry of Culture as a collective copyright management organization to administer extended collective licensing and resale right.

EDITORS AND TEXT: LOUISE KIDDE SAUNTVED I CHRISTIAN EBDAHL I BO TIELDAL I TORBEN GAMMELGAARDGRAPHIC DESIGN: RIKKE BOE NIELSEN I 2016

DID YOU KNOW THAT ...On 1 September last year we changed our name to Copydan Visual after more than a quarter century as Copydan Visual Art

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PHOTO: DITTE VALENTE

DID YOU KNOW THAT ...Last year, Kasper Eistrup started as a full-time artist after a long career as the frontman of the band Kashmir. Now he enjoys being able to immerse himself in art in his workshop on Vesterbro, where he alternates between detailed drawings, watercolors and huge oil paintings.