Landlord has started painting our apartment building. I discover this sporadically, noticing the sudden changes, and never see his workers. Ugly strange patterns in garish colors, dappled sponges (like in the ’90s). I have to find him and complain, having this lack of control and this poor taste is unlivable. Usually he doesn’t do much work — and usually we don’t even complain about serious stuff. But before I can get him, I peek out into the entrance hallway and it’s transformed by a second coat into a surprisingly acceptable if bland two-tone blue.
A couple teenagers steal a bag of UK Pound coins. They dash haphazardly out into the street and spill it on the pathway of a public park, inviting everyone to grab one.
An advertisement navigates down a scenic but underdeveloped street in San Francisco, a slight slope with scrubby greenbelt on either side. Though the ad substitutes a silly marketing phrase, I eventually imagine looking to a street sign and recognize it as Jones from my time as delivery man. I picture what a single land plot would be, snug perhaps, but the kind of multi-level house that would be built in SF would accommodate several people. And it’s a few long, long rows.
Inspecting my art aquaintence Colin Fahrion’s collection of old banknotes. Ones from Bolivia, Brazil, others. In their pleasant little folios they have a fine canvas texture, yet seem to feel like tragedy, as if they bare the weight of political events long ago that they could’ve changed. Beautiful, cursed money.