疼我的人，好像都和鱼扯不了关系，超想念妈妈的鱼粥。眼睛超干涩的一天，肚子又开始有点不舒服了，再加上一些小误会。心情超糟糕的一天，很累。
savour your everyday . with your loves
汗水淋漓的我们在和煦的阳光下与Macritchie一起度过了不一样的Raya假日。
老喜欢粘着我的小树熊，Kerri。从她的眼神里，我看见了小时候的我。
而Kerri的姐姐，Keira则是在众多小孩当中最有个性的一位。
Kerri，我最喜欢的小女孩。
Phyllis姐姐为了充当我新project的模特儿而义无反顾的携着两个小女孩陪我在烈日下四处奔跑。超感动！
Phyllis姐姐的Madewell包包和我特意携带的La Sardina就不知觉的变成了我今天的摄影配件。没想到千鸟格纹在花簇的群拥下，竟然呈现出了不一样的风味，还蛮满意今天的作品。
我的新carry-all 包包。对印花图纹情有独钟的我，还是会禁不住在简约的衣橱里藏了些不同格调的衣着、饰品。
忙完了我的摄影project，一伙儿便到Sushi Tei去享用我们的午餐。Sushi Tei可是我在KL实习，还未正式上班前，倩在KL请我的那一餐。我想我永远都无法忘记那一刻的温馨。Ten of us就是这么一回事。
好好吃的chawanmushi。
还第一次和cheeky用三种方式品尝Unagi Don，最特别的可说是在饭里淋上Sushi Tei的上汤。这也是绝对意料之外的小惊喜。
一个五岁的脑袋里裹着好多奇妙的想法，和她一起忙着我们共同的手作也是我在新加坡玩得不亦乐乎的小玩意儿之一。
第一次尝试的 yoguberry ＋nata de coco。好像现在再来多一杯！
把生活的点点滴滴，通过镜头记录下来，在自恋的慢慢回味是我品尝生活的方式。有多少人是在忙碌扰攘的每一天里，囫囵吞枣地诠释生活？突如其来的想法，savour your everyday with your loves 似乎还不错。
ps. happy birthday, huey phing jie jie!
singapore biennale 2013: if the world changed . part 2
by Khvay Samnang, Cambodia
Beginning in 2010, the artist was drawn to Phnom Penh's public lakes - vital urban hydraulic systems and vibrant residential areas that have become contested sites as the Cambodian government allows them to be filled with sand and offered for private sale. Reaching to this before it became global news, Khvay entered the lakes at different stages of their 'development' and poured a bucket of sand over his head. Untitled brings these succinct acts into wider view.
by Kumari Nahappan, Malaysia
Comprising more than 4000 kg of saga seeds collected from across Southeast Asia, Anahata is a site-specific installation located in the heart of the Singapore Art Museum. In Hindu cosmology, the word refers to the fourth and 'heart' chakra, meaning 'unstruck' or 'unhurt'. The idea of change is expressed here not as an active force or physical manifestation, but rather as sheer potential energy as embodied in the seed, which holds the life-force of an entire tree in its kernel. The work recalls the history of the site as a former Catholic boys' school, a place where knowledge and learning were planted. Pulsing with the energy of thousands of seeds, Anahata intimates that the greatest power is that of pure possibility.
by Ahmad Abu Bakar, Malaysia
This work Telok Blangah features a kolek Melaka (traditional fisherman's boat from Melaka) filled with thousand glass bottles inscribed with messages from male prison inmates in Singapore. These messages describe the inmates' hopes and aspirations while serving their sentences and upon their release.
backdated / Jan 18, 2014
singapore biennale 2013: if the world changed . part 1
If The World Changed, the title of the 4th Singapore Biennale which I dropped by last Jan, was an invitation to artists to respond to and reconsider the worlds we live in, and the worlds we want to live in.
The surge to read the Biennale booklet all over again, driven by Sam's blog that I seriously have to write more. That particular kind of appreciation for my everyday that I'd love to journal and share. And tonight, we will adore part of the beautiful artwork by various artists which were being captured during Biennale.
by Tisna Sanjaya, Indonesia
For Sanjaya, art gains its greatest intimacy through a direct connection with the life of the people and a fearless exposure of injustice. For this work, he has imagined an 'embassy' dedicated for the people of the world to gather and share their thoughts about the problems of today.
by Shieko Reto, Malaysia
Waiting Room echoes the many episodes of 'waiting' faced by transgender persons, such as waiting for a family's acceptance, for the legalisation of official personal documents, and for the confirmation of and acceptance into regular employment. The installation is constructed to mimic a typical clinic, presenting an all-too-familiar journey in the lives of transgender persons as they undergo various phases of constructive surgery, before what is considered the defining procedure: gender reassignment surgery.
by Nguyen Huy An, Vietnam
The deep black abyss of Chinese ink and its hypnotic scent immediately conjure notions of a literary history rich in tradition and culture. In The Great Puddle however, this rich and illustrious history is interrogated and the ink's reflective surface reveals as much as it obscures. Its opaque darkness also hints at hidden secrets lurking beyond the dark corners of the pool. The artwork is a commentary on the lingering scent of power and corruption, as metaphorically represented by the form of a bureaucrat's writing table. While the ink attempts to conceal the 'shadow' of dirty dealings. Its reflective surface ironically reflects reality and becomes, in and of itself, a permanent black shadow in which all forgotten events resurface.
Text courtesy of Biennale booklet.
backdated / Jan 18, 2014
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