From Høvikodden, although more distant, there is a direct view towards Kolsås in the North. In placing Winterstudio in the same direction, I thought it would also become the main subject of my own work. I soon discovered this was not the case. When I painted with the students at the foot of the mountain, its presence was unavoidable. We captured the undulating form of the mountain from the side rather than head on as Monet had situated himself. At Høvikodden, the fact that the mountain was further away and the use of smaller boards made Kolsås function more as a backdrop. Furthermore, the vertical view of the mountain felt fragmented, cut horizontally by the highway and the boatyard, which highlighted selected details in the landscape. In working out new paintings, my interest gradually turned towards observing the changes taking place on the water in front of me: boats in the boatyard across the bay, the appearance of the full moon and the melting ice.