I'm in

Artist’s residency at Plymouth Arts Centre

10.10 BATTER STREET I’m in. Thanks Simon for giving me the keys. Studio One: undisturbed air, chalk dust taste. Against the wall, some random tables, blue plastic chairs in stacks, a white kettle jug on the floor.

10.19 A deep blue bass line playing next door, beyond the signs: PHOTO CONFERENCE (the word photo masked out with a white sticker); ! Keep clear; WARNING!!! THS DOOR IS A FIRE EXIT PLEASE DO NOT BLOCK (MY - in red pastel) ENTRANCE THANK YOU!

The keys to the door/s - where they fell

Organ-effect keyboard: the melody for No Woman No Cry, a bit churchy and uplifting. Outside: leaves sunlit green ochre. Magpie, seagulls, car tyres on the cobbles. Music practise [LEAD GUITAR THEN DRUMS KICK IN]

Simon comes with Caroline’s phone number on a piece of paper.

10.39 The light.

What I’ve brought with me, chosen about 15 minutes before I left home:
MacBook Pro with mains lead
small Muji pencil case (birthday present) with a few crayons - Karismacolor Light Blue 904,Terracotta, Imperial Violet 1007, Vermilian 921; Caran d’Ache Prismalo 999-110 (purple); a Made in Germany Staedtler ergosoft Art. Nr. 157-37 (turquoise) crayon; a Great Britain Staedtler Tradition 110 2H pencil; and a Made in Britain Rexel Cumberland Derwent Graphic 4B pencil; and a Stephens 6 inch/15 cm clear plastic ruler
a free pencil from Bristol Ikea
Stabilo Write-4-all (on almost all surfaces * auf fart allen Oberflachen * sur presque toutes les surfaces) Permanent F black pen Art. No. 156/46 EAN 4006381136396
Staedtler permanent DRY SAFE Lumocolor S black pen (wasserfest auf fast allen Flaschen + CD/DVD * lichtbestandig / waterproof on most surfaces + CD/DVD * lightfast / indélébile sur la plupart des surfaces + CD/DVD * résisant à la lumière / nachfullbar * refillable * rechargeable MADE IN GERMANY Art. Nr. 313-9 EAN 40 07817 308820
free University of Plymouth biro, black ink, rubbery grip with translucent orange barrel
my best scalpel Swann Morton MADE IN ENGLAND 3, brass BS 2982 with a 10A blade with a dab of red nail varnish on the handle so I don’t get it mixed up with my other scalpels - my ‘best’ scalpel, the one I use for engraving on film, and I haven’t changed the blade for at least 10 years
about 400 dusty foot of 16mm black leader with single sprocket holes, on a yellow egg yolk core (either part of the 16mm collection from Lefkos Greco or rescued after being chucked in a skip at the art college)
a banana, two clementines, 500 ml water (from the kitchen tap at home) in a greeny blue Sigg bottle
pack of small light yellow Post-it notes
pack of A5 plain white paper (left over from some animation workshop)
The Irigaray Reader (1991) edited by Margaret Whitford. Oxford: Blackwell (second hand)


Footsteps and voices on the stairs, a dull beat in a studio down below, muffled by the thick stone walls and soundproofing.

11.19 Jack Bruce-like bluesy rock funk in the music room, bouncy slapped bass arpeggio, man singing in a throaty mid-Atlantic stylee “ah sed ah [...] tarm urv they larves [...] narthin narthin surtayntee, yeah ... yesssurree [GUITAR BREAK] tuh-mar-o brings change, aah sed aah surtayntee, yeh [...] narthin narthin surtayn-tee yeah.”

Random stuff
THE MEASURE OF IT: stretch the film between my arms, the journey from one finger tip to another, a long dark walk between the frames: “U gone gut ur seedn may...“

Voices of children playing, magpie, music tutor’s instructions [AND, ONCE AGAIN!] running through the bass track, bouncing the notes, then sliding along the fret from low to high

Draw on the window: getting into the zone. Sprocket holes to the left, top down, shifting between frames: magpies, gulls, sycamore leaves and twigs sieve the light; ghosts, phantoms, traces.


page 114 Psychoanalysis and language: the limits of the transference
A moist exchange. [CUMULUS CLOUD DRIFTS BY, ON A ROLLING BOIL] Remaining a reservoir, whilst maintaining the bridges between the other and herself. [A FLY, WOKEN BY THE SUN, VIBRATES ITS WINGS AGAINST THE WINDOW PANE]
”The issue of the transference seems to revolve around who can best perceive the other, who can return the other, or return in the other, closest to his/her source, a gesture [BASS GUITAR RIFF] almost never perceived as bilateral. [TWO CARS CRUISE DOWN THE COBBLES, ANOTHER CAR DRIVES (FASTER) UP THE STREET] The third term in the transference becomes the limits not only of the body but also of the mucous, [SEA GULLS SQUEAL, THE THROATY RATTLE OF A MAGPIE] not only of the walls but also the experience of the most extraordinary intimacy: a communication or communion which respects the life of the other [AN UNSEEN MAN WHISTLES A BAR OF AN UNKNOWN TUNE] whilst still tasting the strangeness of his/her desire.“

12.28 gulls and leaves

12.48 Simon returns to say that Ian is the only person who knows the password to the arts centre wifi, and he’s on holiday. Simon tidies up and sweeps my banana skin and clementine peel into the rubbish bin. I say: I’m going to use that, so he gets it out of the bin and puts it back on the table again.

M+S Super wholefood salad and a plastic fork; then latte in the arts centre café. A date with Paula on Monday. [MOURNFUL LATIN SAX, LIGHT WHISPER OF MARRACCAS, MURMUR OF LOW SOULFUL WOMAN ALONG A TWISTY OCTAVE]

14.26 PASSWORD I’m in. Thanks Simon. Thanks Gavin. Thanks Caroline. Upload.