From the window of #55, an informed eye studies the moody skies above the central courtyard. Glenn’s 1972 Christmas present – The World Encyclopedia of the Film – languishes in #11, its front cover torn off but not yet discarded. #18 plays host to a brown crayoned face, mouth agape as if inviting the throwing of ping pong balls at a fairground amusement. In another piece of art nearby, a grey-bearded pig farmer and an athletic woman carrying groceries seem to be missing an opportunity to converse at the fence line. Monied wanderlust is palpable in #16, where a shrine to cars, boats and exotic getaways gleams under fluorescent light. Outside Sunday church services advertise the promise of personal transformation via belief in a higher power, while inside #37 another route to growth is being chosen. The number of 5 – denoting maximum difficulty – is written into every column associated with expressing affection towards anyone from an intimate partner to a shop assistant.