Kasper Bergholt made this work in February 2026 at Sankt Jørgens Sø — Saint George's Lake in Copenhagen — printing pigments onto Japanese kozo paper at 100 × 100 cm.

The surface looks like something dredged up rather than composed: frost light, bare branches, winter reeds, a distant sail, the ghosts of two figures.

The two titles pull in different directions and that tension is perhaps the point.

Winter's Afterglow keeps it local and meteorological — the diffuse light after sunset that in a Copenhagen winter often passes for the whole day.

The Return from Avalon reaches back through Arthurian legend to the lake-threshold where Arthur waits, neither dead nor returned, the once and future king.

Bergholt's claim, backed by his reading of Bakhtin, is that the Arthurian chronotope — the liminal waterscape where time folds — is not fixed to any geography. Any body of still water in winter light can carry it.

An urban lake in Copenhagebn becomes Avalon not through fantasy but through attention.