3.3.12

(re)visiting the dead



Several weeks ago we received an email from a theatre group in London called Platform 65, asking about a drawing we posted on this blog 5 years ago. It was a post about our family's experience getting a spot for Ma J at a columbarium and our lesson on real estate.

The young, not-for-profit arts group formed by Singaporeans in London was putting up Kuo Pao Kun's The Coffin is too big for the hole for their annual production, and wanted to use the drawing in their publicity. J and I occasionally get such requests via his design studio (admittedly, naming his studio after our identity on this blog is confusing), and it was impossible to resist the vain thought of an old drawing being associated with a production of KPK's work!

Friends, if any of you happen to be in London this weekend, the show is on at the Camden People's Theatre. But if, like us, you are going to be in Singapore most of this year, Theatre Practice is organising the Kuo Pao Kun Festival throughout 2012. It's a good chance to catch and maybe be inspired by the works of this important Singaporean theatre maker and thinker.

3.2.12

looking at Mr B




Pa J is in hospital for a series of tests. On the bed beside his is a really shriveled up old man with a full head of hair. Let's call him Mr B. Mr B has not had any visitors these past 2 days. Because of this, J's family has been eyeing his quota of 4 visitor passes. To reciprocate, Mr B has been eyeing us these couple of days. His eyelids are heavy with sleep or else with age. But occasionally, he lifts his head ever so slightly and looks at us.

J: You see. How?
Y: What do you mean - how?
J: He is all alone.
Y: Yah. Poor thing.
J: How? We are going to be like him!
Y: . . .
J: We have no kids!
Y: . . .
J: Sigh. It's worrying.
Y: . . . Looks like I have to outlive you.

The recent petition by residents in Woodlands against the building of an elder day care centre at their void deck is something that we should be ashamed of as a society.

25.12.11

carpenter dreams



Sometime in October every year, we know we will have 2 design briefs to crack: the design of our front door; and the studio's annual project.

While the latter has been getting more intense and ambitious each year (and so friends, you will receive it only in January 2012!), the former has fallen into a comfortable, crafty pattern. Perhaps it is because whatever it is we want to communicate is already scripted in the good book.

So friends, since God loves you very very much, you know we got to just love one another too! Amps wish you all another loving Christmas and new year.



Past doors! 2010 2009 2008, 2007,2006

12.10.11

Same Same, Not Different

Not that nothing happened in the last 4 months - work family art life - but nothing quite warranted a blog post until this...



became this.



Finally.

Although the market is no longer part of Mr Chiam's Potong Pasir and it has lost some of its early 80s charm, J and I are just relieved that after a year away, our old friends at the market have all returned!

There is Wings, who still makes the world's best BBQ wings and more than a dozen hawkers we have grown strangely familiar with and attached to. The fish soup auntie with the most amazing memory; the hokkien mee seller who is like a carbon copy of J's dad; SL the ex-taxi driver who now makes kopi; the lady boss of another kopi store who still sports a fuschia mohawk; the ngor-hiang seller who has a great relationship with his teenage daughter; a couple of Shatec graduates persevering with their western food store...

Ah, our village square has come back to life again.


To celebrate, we made Wings a welcome back gift. His own felt, stuffed wing with the mandatory 發 (huat ah) embroidery.

Perhaps I am romanticising the place, its people and the quotidian. Perhaps this kind of parochialism is unhealthy. But I cannot deny the comfort I draw from this community I have maybe constructed. Even so, I like to think I am not alone in this imagination.

26.6.11

on the slow lane



J and I have always liked taking our bicycles to the reservoirs or neighbouring towns. Well, its our way of pretending we are kids on scooters in Taipei, zipping around and out of the city.

But for the last few weekends, we thought to venture further for some domestic tourism. From Toa Payoh, we visited Ubi's industrial estates, the Marina Barrage, the East Coast and Seletar.


All photos in this post are by J

We saw many things along the way, but for me, these 3 stood out:

Lovers



Because scaredy cat us would not go on the roads, a large part of our journey was through the ingenious park connectors that the National Parks Board had devised. In the various stretches along the Kallang river, starting from Potong Pasir to where the river meets the bay, we would often go by lovers on the park benches, under the trees or spread out on plastic ground sheets. They were chatting, listening to the radio, exhausting a bag of chips and doing everything else that lovers do. Thai, Burmese, Filipino, Indonesian, Chinese, Indian...it was the UN of love.

It made me think of this movie, and reminded me how little 2 people in love need to feel happy.

Workers


This is the closest photo I have to the idea of "workers", standing guard on a hot Sunday at Katong Park near Fort Road, on the way to the East Coast.

One of the strangest experiences we had was on our way to the Marina Barrage. The route we took was from the Nicoll Highway, past the F1 pit, the Singapore Flyer, the Marina Bay Sands IR, the Marina Bay Residences, and finally circling around the heavy construction site that will be the Gardens by the Bay, before we reached the Barrage.

What different worlds we saw in the making, and all within that concentrated promontory of land reclaimed from the sea.

We first observed young Singaporeans on their canoes, then the 2 paeans to tourism and the 1 paean to integrated resorting, before reaching the ultra posh Marina Bay residences. But once past the luxury condominium, it felt like another world altogether.

It was a world of cement dust. It was a world of make shift bus stops. It was a world of narrow pavements, where groups of workers in their heavy construction boots marched by or stepped aside, quietly, to let the other pass. On the way to the barrage, we spied rows of tightly placed exotic trees, still awaiting to sink their roots. And with similar order and the same degree of economy were seemingly endless rows of temporary dormitories, stacked 3 or 4 stories high. Men in their teens to 30s stood outside the doors or moved about purposefully. Their laundry was draped across the railing, their muddy bikes were all lined up. Two "barbers" had set up their make shift shop by the pavement, the barber chair a plastic stool on concrete. One chinese barber. One Indian barber. They were set 20 metres apart, a polite competition.



When we finally got to the Barrage, the workers had disappeared from sight.

Singaporean families crowded the rooftop garden and flew these magnificent kites. There must have been some 20 to 30 kites in the sky - but there was space enough. Looking at them, you never would have guessed the frenzy of the kite flyers on their tiny patch of green below.

I enjoyed the bike ride. But something felt not quite right, I think.

Trees

I enjoyed less the bike ride to Seletar - there was less to distract along the way. But whatever it was I saw, it felt "right".

For this, all credit goes to the trees - giant rain trees and angsanas lined the Upper Thomson Road all the way to Seletar. Cycling some distance behind J, I realised how tall and majestic these trees were - and in contrast, how small the usually-tall J was. I needed distance to see this.

Along our coastline too are rows of trees. Sea almonds, coconut and casuarina...and many more I know not how to name. They broke the force of the winds and provided a degree of shade in the mid-year sun. They are most likely not native to our coast, neither are the rain trees along our roads. But without a doubt, the trees, they were definitely the best decisions us islanders made in the history of our island living.

21.4.11

against time and place



Friends, go watch The Impossibility of Knowing by Tan Pin Pin at the Singapore Art Museum as part of the Singapore Biennale 2011. It is screened together with another new film by Tan Pin Pin, Snow City and four other films.

For all the criticism that the Singapore Biennale seems to be getting in the press and as part of the general reception, the works at 8Q SAM seemed to be pitched just about right in terms of accessibility, criticality and... er, indoor temperature. For me at least, most of the works at 8Q all had this dual quality: one is the aesthetic, peculiarity and assertion of a singular or individual vision; and two, the encounter of a collective or common reality, memory or experience. In some ways, this tension or conversation between the individual and the collective is art's unique value and contribution.

But perhaps one should not expect a Biennale platform to always achieve that "just about right".

Unlike the public museum or any other institutional presentation, the Biennale platform should allow for some incongruence, error and dissonance between the curatorial or artistic and public or audience expectations.

Its advantage is that, as a form, it need not be inhibited by an institutional mission, collection or space/physical infrastructure - an advantage that allows it to be "ahead of its time", "off centre" in its approach, or even completely "missing the mark" in some aspects.

Its challenge, however, is that such advantage comes with a price tag so large that it often requires significant city or federal government funding. In the case of Singapore, where art's primary patron is still the government or rather public funds, a certain structure of accountability for the use of public funds is necessary; and with that, perhaps less room for "failure" or "dissonance".

It is a tall order: to feel right in its time and place, yet to go just that bit further to stretch the public's imagination of where, when and why.

11.4.11

童年真美麗


童年真美麗 - I drew the kids, but the idea and eventual layout are by J. The kids, of course, are not ours. They are made by my Bro E and his wife M.

The oldest picture book on my shelf is a 1963 reprint of a small, pink cloth-bound book by Joan Walsh Anglund, Love is a Special Way of Feeling. I don't know how it came to be mine or how it is that I still have it with me, but I remember reading it as a child. That and some typical English animals-in-suits stories, plus Lady Bird versions of Hans Christian Anderson's fairy tales and Aesop's fables.

For as long as I have book shelves, I've kept a special shelf (or three) aside for children's picture books. So when J's design studio took on several commissions for children's books, I couldn't be more thrilled - yes, it's all justified now! So when J and I walked out of M and S's lovely store Woods in the Books this weekend with 3 more picture books, I felt no guilt. Finally. No longer an indulgence, but a work-related "investment".

Woods in the Books is an independent bookstore at Club Street that specialises in picture books. They also have a good collection of children's picture books from Taiwan and art by one of the owners moof aka Mike Foo.

If you visit Woods in the Books, also consider dropping by the cafe k.ki round the corner at Ann Siang Hill. There's a lot of care that has gone into making both stores. Respect!
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