Post-Industrial Revolution: Welcome to Heel

Hello from Gdańsk.

I've been without internet for a few days, doing tourist things and enjoying the weather, so this is the first post.

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Whenever I go to a new place, I'm overloaded by differences between where I am and where I've come from. Inevitably, I'm drawn to the uncanny rather than the overtly unfamiliar. At first the feeling is one of recognition, but then, as I begin to understand what I'm looking at, dislocation creeps in.


This is near Modelarnia, the project space in which we will be exhibiting. 'Slayer!' I shouted, when I saw it.

I asked whether Slayer had ever played in Gdańsk, and Marta said they hadn't. Apparently an artist had painted it for a project that no one could remember.

Here is Slayer guitarist Kerry King playing with Pantera, a few weeks before Dimebag Darrel was murdered on stage...


Around the corner from this building I found this warning sign.


Which is pretty much a ready made thrash metal logo.

It's funny, because Roma was saying that the first thing she noticed when she moved to the UK was our obsession with health and safety, but when we were investigating the shipyards, we found this warning sign.


It is an old health and safety sign from the Communist era. It has pictures of goggles, gloves and a hard hat, and the text says something like, "without these, accidents can happen". Which is quite similar to this.


Although, a little more home made.

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More graffiti from the shipyard.


Not quite sure what they meant by this, maybe that we must never forget our own mortality, and that the utopias offered by political ideologues ignore our essential humanity, or maybe it just looked cool.


And here is a nice one from Puck, 'WELCOME to HEEL'. There is a place called Hel near Gdańsk, though I don't this is what they're talking about.

Hi Ronaldo.

On the same wall there was this


Actually, it was all over the walls. It means '21 x yes' in English, and it refers to the 21 demands of Solidarność, the trade union based in the shipyards of Gdańsk. More about them in a future post, but as far as I can tell, this graffito is a celebration of the success of Solidarność, which eventually went on to form a coalition government in the democratic elections of 1990.

I picked up a copy of the demands, and what's interesting is that most of the demands are pretty standard - extra pay for shift work, maternity leave, etc. Nowhere does it call for democracy or free elections. Solidarność are famous because their strike action is linked to the collapse of Communism, but the '21 x Tak' graffiti suggests that their relevance to contemporary Poland might be more to do with their practical demands than revolutionary change

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And, one more, this time from Stansted airport. A nihilistic warning sign.



Post-Industrial Revolution - From May 6th - June 5th

This Friday morning, at around 3am, I will drag a suitcase full of audio equipment, a few clothes, and a wallet full of zloty to Stansted airport and get on a plane to Gdańsk. I will be living and working in Gdańsk for the next month as part of Post-Industrial Revolution, a residency and exhibition at Modelarnia, run by the Wyspa Institute of Art.

I will be making work about the shipyards of Gdańsk, which was where Solidarity (Solidarność) - the first non-communist trade union in Poland - was founded. I'll be exploring the political history of the shipyards, and trying to find out what that history means in a post-industrial society.


I'll be keeping a daily blog - right here - from Saturday until I leave Poland in June. Check back every day for a new post. If you followed the last few residency blogs you'll know these posts can vary from exploitative youtube videos, to ad hoc reviews of whatever I'm reading at that moment, to short essays about horses.


See you back here on Saturday.

Concerned Horse Towel


It's a towel with a concerned looking horse on it. Sometimes a blog just posts itself.

From togallavant.com, which is (or, was - it's just finished) a webcomic documenting the travels of Kayla Marie Hillier.

The Black Umbrella

In my parents’ garden there is a big black sun umbrella. Sunshade? I don’t know the correct term. You know what I mean.

It is huge. My dad has had to put two paving slabs across its base (which is formed of four metal legs at right angles to the thick round stem that supports the umbrella) to stop the thing toppling over.

It has two locking mechanisms with which you secure the height and angle of the umbrella, plus a winch-style handle that opens and closes the umbrella (but the diagrammatic instructions on the side of the handle show your options as ‘up’ and ‘down’, which is sort of misleading).

It is meant to shield the garden table from the sun, that is, it is positioned as if its function were to provide shade for those sitting at the table.

It is almost impossible to position the umbrella in a way that provides shade for everyone sitting at the table. Also, at this time of year, the sun seems to move quickly, so that even the small amount of shade provided by the umbrella is in the wrong place after ten minutes or so.

And, I forgot to say, my dad has had to attach two bungee ropes to the top of the umbrella stem, to stop the wind from knocking the umbrella over. Although, I think actually that the umbrella wouldn’t be knocked over by the wind, but it is quite disconcerting when it moves above you like a leaden kite, rocking back and forth on its stand.

Post-Industrial Revolution

I have been selected to take part in POST-INDUSTRIAL REVOLUTION, a residency at the Wyspa Progress Foundation in Gdańsk, with a exhibition opening in June at Modelarnia gallery in Gdańsk Shipyards.

I'll be making work about the shipyards of Gdańsk, creating story-sculptures from conversations I have with local people.

I will be posting regularly on here, so check back from the 7th of May for updates.

The Man Walking Home From the Tube

The man walking home from the tube has heard that it is a classic sign of paranoid schizophrenia to think that you have shit yourself and to think that everyone can see that you've shit yourself and to keep checking - with surreptitious hands and straight-ahead eyes - as to whether or not you can feel a wet patch on the back of your trousers (for though the man walking home from the tube has never actually shit himself, he imagines that it would be a wet shit that would be the culprit if he were not to realise that he had shit himself when he had. The first warning sign would be a feeling of dampness on the material of his trousers, between his cheeks.). This is not true. It is not a classic sign of paranoid schizophrenia to think that you have shit yourself.

But, shit himself he has, he thinks, or at least he thinks the possibility that he has shit himself is a definite possibility. That is, having shit himself is a possible possibility. So check himself he does, with his shifty hands and his forward facing eyes that give him away (he thinks).

For a moment he imagines himself as a police horse trotting and shitting without regard. How sweet, he thinks, to have the authority (for even when horses are not police horses, they seem to have authority: over the people that ride them, and over the other animals in the farm [an imaginary farm, that the man waking home from the tube has imagined. In this farm are only animals about which the man walking home from the tube has strong{ish}opinions, such as but not limited to horses, cows, dogs, pumas and dolphins.]) to shit as and when you decree, directly on to the street. The very pavement is the police horse's toilet. But, he thinks, their shoes are nailed into their feet, so it's not all fun and games.

Just to confirm, the man walking home from the tube has not shit himself.

The man is holding a satchel in one hand, and with the other he sort of slaps the back of his trousers, trying to find the tell tale wet patch that will confirm his suspicions. If he finds a wet patch, it will confirm his suspicion that he has shit himself. If he cannot find a wet patch it should confirm that he has not shit himself. But, a positive re: the wet patch can be 100% confirmed via the method of slapping the back of his trousers, where as, an 100% confirmation of the absence of a wet patch can only be established once back at home, via close examination with eyes, nose and fingers.

The contents of the man's satchel are as follows: a banana that has blackened, a free newspaper, an empty bottle of water, an ID card + lanyard that he uses to enter the office building which contains the offices of the call centre at which he works, a plastic sandwich bag containing a sock encrusted with semen that he carries to and from work (washing, singly, that is, on its own. A single sock for a whole hour long wash [quick wash, 30 degrees, still takes an hour], just because he is scared that if he washes the crusty sock with the rest of his clothes then he will smell of cum all the time and everyone will know that he is a compulsive masturbater) in order to masturbate more quietly and/but with the required amount of friction in the toilets of the office building, an empty lunch box (with crumbs and fluff and a crisp packet and a thin metal fork from his home's kitchen), some papers that relate to his job but that are not necessary for him to keep copies of, several biro pens that do not work and one 3B pencil that he ends up using every time he goes in to his satchel to look for a pen, a tie that he is required to wear at work but does not wear on the journey to and from work.

And so he slaps the back of his trousers, checking for the wet patch, and stares ahead and tries not to grimace (and doesn't, grimace, but imagines he does) and tries to stay on the same side of the road for as long as he can stand it, before he simply has to cross the road, even though he knows this makes him more susceptible to the paranoia that someone weird or scary or crazy or violent will suddenly appear on the new side of the road and he will not be able to legitimately cross the road (as he would have been able to, on the old side of the road) in order to avoid them.

And as he crosses the road he thinks he smells the smell of rotting leaves, which always reminds him of the smell of cum and he wonders perhaps if he smells of cum, despite washing the crusty sock on its own in the washing machine. Perhaps, after masturbating in the toilets of his office, he wiped his hands unthinkingly on his trousers, and now the wetness of the shit that he perhaps has done has perhaps activated the oderant molecules in the cum that he perhaps wiped upon his trousers.

But even now, in this moment of complex, colliding paranoias (that to us maybe looks like a low point, but to the man is neither a low nor a high point, but simply one of many such points of contemplation that he reaches whilst walking, or working, or reading, or talking to people, or watching television, or masturbating) he can laugh at this strange idea, for he masturbates at work with his penis through the flies of his trousers, and the sock covering his penis. And even when he ejaculates with enough force for cum to make its way through the fibres of the sock, he folds the sock carefully and puts it straight back into the plastic sandwich bag, and therefore he would not be able to get any cum on his hands and wipe it on his trousers.

It is not a classic sign of paranoid schizophrenia to believe that you have shit yourself and that everyone knows it.

Works in Video


Disruptive Histories: Tatlin Tower, 2010, a video made by Matthew de Kersaint Giraudeau in collaboration with the artists Penny Whitehead and Daniel Simpkins will be screened as part of 'Works in Video', 17th March 2011 at Space in Between gallery in London.

17/3/11 6pm - 9pm

Ben Jeans Houghton
TSU
Luke Montgomery & Josh Alexander
Untitled
Matthew de Kersaint Giraudeau with Penny Whitehead and Daniel Simpkins
Disruptive Histories: Tatlin Tower
Nicole Morris
All the different ways I love you (endlessly)
Simon Linington
Cliff Hanger no.14

Space In Between
Unit 26 Regent Studios
8 Andrews Road
London
E8 4QN

info@spaceinbetween.co.uk

Firedive Trailer



Last September I went out to Guernsey with David Angus and Tim Bowditch to work on the production of Tim's film, Firedive.

Well,  now the real work has started. Jonathan Gales is sorting out the editing for us. Sound tracking the trailer was a good test of the recordings I got while I was over there. I think we going to be ok.

Enjoy.

Applications

I'm writing several funding applications at the moment. This post is a both a way of thinking about the process of applying for things, and also a way of taking a sneaky break.

When you apply for funding to make new work, your function as an artist is reduced to the hypothetical: what you might do in the future if you are given some money. Strangely enough, I find it easier to write applications if I use the future progressive tense (I will), as opposed to the future conditional tense (I would). It shouldn't really make much difference, but it feels more definite when I write about something I will do, rather than something I would do.

Also, for the proposal I am writing at the moment, I am representing the ARKA group, which means I can use 'We' instead of 'I'. Again, it shouldn't make much of a difference, but it does. If I write 'we', it feels as though the decision has been made for me, like it is more objective (or at least inter-subjective).

Actually, my favourite way of writing applications is using 'The ARKA group will', instead of 'We will'. This makes me feel like I'm the head of a secret institution that uses art as a way of influencing governments. That makes me feel more able to make complex theoretical statements and connect ideas that seem strange or unlikely.

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Often, in applications, I use this blog as an example of my self-reflexive practice, and the way that I try and apply critical thought to every day life. So, just in case any of the funders are reading this, can I just reassure you all that I am not the head of secret institution that uses art as a way of influencing governments.

Poetry makes more sense/when quoted and/put between slashes

I subscribe to the London Review of Books, and it publishes new poetry, which I never read. But when a writer quotes poetry I'm always desperate to read the rest of it (that I never actually go and find the rest of it is perhaps quite telling).

It is the sense-making that I am looking for. I want to understand the poetry, rather than admire it.

More and more I find art is about clarification and description (even if the description or clarification is of an unreal thing).

I am just about to give some tours for the Hayward Gallery, of the British Art Show. I think my tours will be about the act of storytelling, and how for the artists in the BAS it seems like storytelling is analogous to the process of making art.

I see the process of talking about art to be analogous to the process of making art, and I also see a big part of talking about art as telling a story - talking about discontiguous ideas as if my words could connect them. 

For me, description and interpretation are another form of artistic production. So really, when I'm talking about the artists, and the way they use storytelling to make art, I'll also be telling a story. And when I'm talking about making art, I'll also be talking about talking about art.

ARKA: Blog

I'm currently making a film with Ben Jeans Houghton under the ARKA name for a Cornerhouse commission. I'm writing a blog for us at arkaanalysis.com.

I probably won't post anything here for the next ten days, so go there if you want to read anything about what I'm up to.

Naps

I’ve been taking naps. When I wake up, I have to go through a routine. A nap is a very disorienting procedure to undertake. When you wake up, you don’t feel rested or good, like you do when you wake up from a full night of sleep. When you wake up, you feel chewed, or chewy. You feel like thick spit or stale bread.
 So when I wake up from a nap, I try and remember my name. That is the first part of the routine. Once I’ve remembered my name I take off my socks (the socks I’ve been wearing for the nap) and put on new socks. That is the second part of the routine. Once I’ve changed socks I try and remember an interesting story about my life, the sort of story you would try and remember for a job interview or a first date, i.e. funny and broad in its appeal, but a story that expresses your individuality and intelligence. That is the third part of the routine.

Toothpaste

As I was brushing my teeth, I noticed that my parents have changed the brand of toothpaste that they use. They’ve switched from non-fluoride, Aloe Vera based toothpaste, to a fluoride toothpaste for sensitive teeth. I remembered that as a child, if I stayed round a friend’s house, and they used a different toothpaste to the one my parents bought, the flavour seemed radically different to me, and often disgusted me so much that I could only use a tiny bit on my toothbrush. Now - using this new toothpaste - I could barely taste it at all, let alone differentiate between it and the brand that I use at my own house. I decided that it must be something to do with the amount of salt I now use on my food.

Baby Dream

I’ve been having dreams about a baby. It isn’t mine, but it looks exactly like me. And although it is a baby, it can talk, and it basically has my personality. Which is annoying, in the dream, because it took me my entire life to develop my personality to what it is now, but this baby has just picked it up straight away. That seems convoluted, but in the dream, that is a really specific emotion, and that is what the dream is about.
 I keep trying to trick the baby in to doing something that I wouldn’t do, there aren’t any specifics to how I do this. In my dreams I don’t think there are ever any actual words, just flowing thoughts and immediately understood conversations. The baby is also angry at me, which is consistent - if you think about it - with my personality. I think he is annoyed that the future version of himself has not developed a different personality. It is complex, this shared anger, because as annoyed as I am at what I feel is an overly developed sense of self for a six month old boy, he is equally as annoyed for what he sees as my failure to move on from fairly immature concerns. Not that he sees himself as immature, but he also recognises that he is young, specifically, younger than me. I’m disappointing his sense that as you get older, you get wiser, and he is doing the same for me, but in reverse. If that makes sense.
 Basically the dream goes on until I wake up needing a piss. There is a causal relationship between the need to piss and the dream. I can’t work out what it would be.
 When I go for the piss I’m always half-asleep and in my head I’m still battling with the baby who has got my personality. It makes me really angry and it is only when I’m washing my hands afterwards that I realise that what I’m thinking about doesn’t really make any sense.

The disappearance of a relevant quote

Liverpool Fugue, the performance lecture that I gave as part of my residency at The Royal Standard, was inspired by my reading of The Rings of Saturn, by W.G Sebald.
  I've been thinking about a film I want to make, about the train journey from my home town of Colchester, to London Liverpool Street station. This would be an exploration of a landscape that has shaped me. Me and a friend would spend a month riding the slow train back and forth, stopping at each station to walk, film and take notes.

Colchester
Marks Tey
Kelvedon
Witham
Hatfield Peverel
Chelmsford
Ingatestone
Shenfield
Romford
Ilford
Stratford
London Liverpool Street

They are places that I know intimately, in the sense that I have traveled through them hundreds of times, and I know exactly how long it takes to get to each one, and I have spent time in every one of them, either waiting for a connecting train, or a rail replacement bus. They are also places that are totally alien to me. Places that I have never purposefully visited, places I have never walked around. They are markers towards a confused idea of 'home', rather than places in and of themselves.

I will again use Sebald as a reference point for this project. I want to explore the reality of walking around these towns and villages, but by creating oneiric histories for each of them - mixing fact and fiction to create narratives that link them together and allow them to become players in a coherent, if somewhat discursive, thread of ideas and inferences.
  The irony is that the specific passage in The Rings of Saturn that has inspired the idea is one of the few entirely factual parts of the book. In it, Sebald describes his train journey from Norwich to London Liverpool Street (the route stops at Colchester and the other stations listed above), gazing out of the window and watching the landscape shift from rural, to light industrial, to suburban sprawl, to city.

I will write a proposal for some funding for this piece - I need some money to cover costs and the time it will take me to produce - and I thought I could begin the proposal by directly quoting the passage from the book. Strangely, I can't find it. I thought I had already quoted the passage for the blog I wrote whilst on The Royal Standard residency, but I can't seem to locate it online. I quickly scanned the chapter in which I thought it appeared, and then re-read it closely. Finally, I went through the whole book, page by page, looking for any reference the Norwich-London train route.

Have I just missed the quotation, or did I imagine the whole thing? I was reading several books at the time, perhaps it was from somewhere else. But I remember Sebald's distinctive narrative voice; at once authoritative and distracted, dreamlike and concrete.
  Maybe when I thought of my film idea, I shot a glance back through my memories to see if I could link it up with anything that I had been doing, to find a causal connection between my reading and my practice. Perhaps on finding nothing, I created a passage that Sebald could have written, in order to link my ideas with his.

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As I was flicking through the book, looking for the non-existent passage, I realised that the story he tells in the last section, concerning national silk production in France, is obliquely referenced throughout the earlier chapters. Silk worms are used as metaphors, or written about in passing, as well as being explicitly referenced in shorter narratives concerning historical figures. This idea of the silk worm producing a thread seems to me to be an internal metaphor, or a synecdoche, for Sebald's writing. He produces imperceptible narrative threads that link together ideas that are almost unbelievable - that these ideas are untrue is made irrelevant by the lightness of his connections and the understated nature of his writing.
  Silk worms can only be bred domestically, they do not exist in the wild. They are, in a very real sense, a human construct. Not just dependent on humans for their continued existence, but also rendered functionless without human desire for silk. The thread they spin is for us, they are not objects beyond our perception, like other animals. They fail to exist without us. They, like us, are meaningful because of the thread they leave behind them. Our thread is that of memory, or history - but like the silk worm, we do not know why we produce this thread, and so, in our ignorance, we must apply our own meaning to it.
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As a postscript, I did try to search online for the passage concerning the train journey, I couldn't find it, but I did find a nice Susan Sontag essay on Sebald. Read it here.

Curriculum Vitae

I got an email from a work colleague this morning. He claimed that I had altered his CV, which he had saved on a communal computer at work. I hadn't done it, but I got him to send it to me. I thought it was quite good.

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Statement
I make work and like making artwork. Mostly the work I make is art and some of it is also sculptures. Making more work, art and sculptures, as well as artwork itself, is what I hope to make more of in the future hopefully.

Education
11 GCSE’s at C or above
3 A levels
1 Foundation course
1 BA in artwork
1 PG Dip in artwork and sculptures
1 MA in artwork and more sculptures

Exhibitions
I have done upwards of 6 different shows, some of them were attended by people.

Relevant Experience
Full, clean driving license
Full, clean underwear
Small, empty brain
Cute dimples

The Five Coffee Shops

In the suburb of a small town in Essex where my Aunt lives, there are five coffee shops. I find this absurd. There is no way they can get enough custom to make them economically viable. I visit her from time to time; to cut her grass and fix things. She would rather throw things away, but I like to fix things. I feel as though older people have lost their respect for objects.

I don’t remember when I first noticed the five coffee shops. They aren’t new. They have names like Melanie’s Coffee Shop and Frothies. They have brown awnings. No one ever seems to be in them. There aren’t many people on the street, and there certainly aren’t any in the coffee shops.

I work freelance so I suppose I visit the area on ‘off’ days. I haven’t really been there on a Saturday. Still, some weekday custom would be expected.

My Aunt had asked me to visit her house whilst she was away seeing my brother in Austria. She has the odd habit of turning off the water mains when ever she is away for more than a few hours. I think it is something to do with lightning or council tax, but I can’t be sure. I do know that she pushes all the furniture away from the radiators so that it doesn’t catch fire, even though she turns the heating off when she leaves the house.

On my second visit, after checking that everything in the house was as it should be, I decided to go to one of the coffee shops. I had the vague notion of eating a cooked breakfast. When I walked in to the coffee shop nearest my Aunt’s house, the lady behind the counter greeted me warmly, though not without surprise. She was obviously unprepared for customers at eleven o’clock on a Wednesday.

I asked for a full English breakfast and a black coffee. She told me that breakfast had finished and that lunch started at twelve. I abandoned the idea of food and resolved to stop at somewhere on the way home. I told her that I would just have the coffee. She smiled and walked back in to what I assumed was the kitchen.
I took a seat and read the paper. I hate reading the paper, it all seems so irrelevant once it’s written down. After five or so minutes I stood up and walked to the counter. I craned my neck to see the woman, but the kitchen was round the corner of a passageway. I called out, but received no reply. Sighing I was just about to leave when I heard a whimpering sound. I walked slowly around the counter and through the entrance to the kitchen.

As I turned in to the room I saw that there was no coffee machine. In fact there was no kitchen equipment of any kind. The space was almost entirely bare with just a cheap looking table and a plastic chair. The woman sat on the chair, crying, with her hand over her mouth. She looked up at me and let out a gasp. I asked her what was wrong and she gestured to the room as if it was obvious. I got down on my knees and she fell in to my arms. She held me close and sobbed in to my shoulder.

We stayed like that for what seemed like a long time. It was uncomfortable, but having made the decision to comfort her, I had to see it through. Eventually she quietened down. Her breathing relaxed and as I made to move away from her, she put her lips to my ear, “You’ve done it now”, she said.
I stood up abruptly. I told her that I had to go and she nodded. As I left I turned and told her that I was sorry. She smiled weakly.

I walked out of the shop and towards my Aunt’s, where my car was parked. Frankly, the whole thing seemed more than a little strange. I resolved to bring a thermos on my next visit.

After Pete Hindle - petehindle.com

Found things

I've just finished writing an application, and in the (incredibly long) application form, I had to define what it is that I do in my art practice. Weirdly, that isn't something you get asked a lot when you are an artist.

You are often explaining why you have done a particular thing, or what it is that you intend to do, but not what it is that you do. A general, rather than a specific question.

From what I wrote (it's all a blur right now, I've just pressed the send button...), and from the work that I submitted, I realise that a lot of my work is based on things that I find, rather than things that I create. Here is a little selection of my favorites. They are all from my website, but I haven't ever thought of them as similar before now.

 Eiffel Tower with Americans, colour photo, 2009

I saw these American tourists having a Segway tour in Paris. One of the group member's scooter wasn't working properly, and when they left she was left stranded in front of me.

 Martin Heidegger, Looking Suprised, scanned image, 2009

This is from a book on continental philosophy by Simon Critchley. The caption for the photo is sort of a philosophical joke. Well, I think it might be. I don't really understand Heidegger's philosophy, but I like the picture.


 Portrait of a Young Flying Tourist, colour photo, 2008

I saw this tourist staging this photo and managed to catch him as he jumped in the air. I was surprised at the good timing of my picture, I probably have a better photo than he does.

 Woman With Glasses (after Martin Creed), colour photo, 2008

I unloaded my bag on my bed, and realised that it had made a perfect little image.

 Fixed Shoes (Wooden Legs), colour photo, 2008

I was fixing my shoes (it didn't work) and had knocked up this informal arrangement to facilitate the (ultimately pointless) process.

 
 Pragmatic Sculpture, colour photo, 2007

I saw this bin arrangement in Tynemouth and thought it was both practical and ridiculous.

 Played by Gentlemen, colour photo, 2007

I don't know who kicked this football in to the sea, but I'm glad they did.

Spilled Lunchbox, colour photo, 2007

How many jam sandwiches can someone have about their person at any one time?

Builder's Merchant

I’ve been dreaming about it, or, it dreams me. A logo, three cylinders in a perpendicular projection. I’m not sure if this style of projection would ever be used for plans or designs. The front of the cylinders are circular and the lengths -the tubular parts of the cylinder - stick straight out sideways. It looks strange. Flat and depthless. Sort of impotent.

One day I’m walking past a builder’s merchant on the outskirts of the town in which I live. Next to the builder’s merchant, positioned over the pavement, but really aimed at the cars, is the sign that welcomes you in to the town - the official edge of the town is marked by this sign, and I’m thinking that I must have walked past this sign a lot, but not an incredible amount of times. Not like the amount of times that I’ve walked past, say, the road sign for the road that I live on. So maybe, one thousand times? A lot, building up over the years. But not regularly, but still a lot. Seven hundred to one thousand times? I think this every time I pass the sign.
I look to my right, towards the builder’s merchant, and I see the logo that I’ve been dreaming about, though it is only looking at the sign that alerts me to the dreams, if you see what I mean. I mean I haven’t ever remembered dreaming the logo, but as soon as I see the logo I know that I have been dreaming it.


The projection of the cylinders is more ridiculous than I remember, though I cannot be sure that I remember it clearly, seeing as I’ve only just realised that I’ve been dreaming this logo, and I suppose this image could have supplanted the image that I can’t quite recall but know that I have dreamt. But then how would it be more ridiculous than how I remember it? No. I must remember it, because it certainly does look more ridiculous. Laughable.

No matter. It must be of some importance so I decide to go inside. I go through the yard, past piles of timber and parked fork lift trucks. I go to the office and look inside. No one is around to speak to. I would ask them about the logo, who designed it maybe, or what it is meant to be. Probably just cement tubes, or scaffolding. The cylinders are too thick (in the logo) for them to be scaffolding. In one of the covered sheds (for really, a lot of the builder's merchant is just covered sheds, full of wood and metal and polystyrene sheeting and plastics) I can see some men talking, and I can vaguely hear a radio playing a song I can’t make out. I decide against approaching them. I look around to see if the logo is anywhere else in the builder’s merchant. It is not. It is only on the sign outside, next to the gate.

The whole idea of entering the builder’s merchant starts to feel pointless, there was never going to be anything of interest in here. I leave the yard and don’t even stop to look at the logo. I walk past here a lot. Not regularly, but a lot. I’ll come back another day.
I've been thinking about ideas for the artwork on the debut Dogtanion album, PSYCHOSES. The title and concept for the cover art is taken from a Buddy J. Finowicz novel I've read. The art work will be made up of pictures of me reading the book in a library.
  I was walking through Didsbury (a suburb of Manchester) and popped in to their library out of curiosity.



From the outside it looks like a tiny Neo-classical cathedral, but inside everything is 60s/70s utilitarian, with laminated A4 paper signs, tough wearing carpets and standard issue wooden chairs. This is how I remember libraries, full of plastic covered hardbacks and students and older men with shopping bags. This is the taste of nostalgia.

I want the pictures to look how reading a B.S Johnson novel feels: quiet rage, inadequate jumpers, thermos flasks and dissent. The overriding colour scheme is brown and no one speaks louder than a murmur. A time when public buildings were (begrudgingly) for everyone. Tramps escape the cold, drunks pretend to read the paper, the poor soak up free information and free heat. No more, libraries have changed in most places, especially London. Our new idea of inclusiveness is the internet and Idea Stores.

I can't afford to bring the photographer to Manchester, so I'll have to find an equivalent somewhere in London. Where should I begin?