It's getting to the stage where i can't get any new recordings easily. Covering a topic twice isn't easy. In some ways this is a shame as there's some great things i'd really like to coax him into paraphrasing (original take being unusable due to background noise, my voice, or personal details being entwined which i wouldn't want to share). But at the same time at least i can start focusing on working with what i have.

I have a little bit of a panic at the back of my mind that the majority of my efforts with these recordings won't serve any useful purpose as i'll be incapable of getting footage to match. But oh well. I guess i'll find this out in time. All my filming so far is shit. At some point over this weekend i will have to broach the subject of me filming him while he works.

I've spent a lot of this week pursuing things that will likely prove a total waste of time. Got in contact with someone in charge of commissioning arts programmes for BBC Radio 4 and he seemed- although his emails were quite short- to think it was a great idea. He's forwarded all my correspondence to people who may be able to assist me. Not holding my breath as any professionals interested in getting involved will have little in the way of creative license. As my grandfather would never consent to meeting everyone, it would all have to be done through me, and i could understand people not wanting to get involved with a project where they're relying on the aptitude of a beginner every step of the way. Still, it's always good to hear when people think this is a good idea.

I also tried writing to and phoning both Taschen (publishers) and Christie's in the hope of finding out whose services they enrol when having paintings photographed for reproduction. What a bunch of unhelpful cunts. They refuse to tell me anything. Google isn't much more helpful either. Searching for art photographers yields nothing but art, photographers, or ways to do it myself, and this inevitably involves expensive equipment i can neither afford to buy nor learn how to use.

Getting his work photographed is really important. Then i can start turning up at galleries armed with prints as proof of his work's quality and deliver a more convincing proposal to any curators or directors i'm able to meet. In two weeks i go to Germany for a bit, and so i'd really hope to be at the stage where i'm making progress with regards a location for the exhibit when i return.