Masriadi: Black is My Last Weapon

Having read about one Indonesian artist, I Nyoman Masriadi from TODAY, I'm seriously considering to visit Singapore Art Museum which displays his works from 23/08 to 09/11.

Now just need to find time. Yeah. Just a little issue about it. Right.

More about I Nyoman Masriadi at Wikipedia: here. locked me?! (Part 2)

Quoted from page after I submitted that 'unlock request' (Screenshot below):
Your blog is locked

Blogger's spam-prevention robots have detected that your blog has characteristics of a spam blog. (What's a spam blog?) Since you're an actual person reading this, your blog is probably not a spam blog. Automated spam detection is inherently fuzzy, and we sincerely apologize for this false positive.

We received your unlock request on August 29, 2008. On behalf of the robots, we apologize for locking your non-spam blog. Please be patient while we take a look at your blog and verify that it is not spam.

Find out more about how Blogger is fighting spam blogs.

So eventhough I can still create a new post, there's a 'Word Verification' that I'm required to type. And like I said earlier, 'Word Verification' really, not easy to read.

the girls who failed to catch THE bouquet

I recently attended my good friend Bea's wedding in Fernbrook Gardens last August 8. I flew all the way to Manila just to witness her tieing the knot with our college friend Glenn, because she is the first best friend to get married in our barkada and yeah, I miss the rest of my girlfriends as well. Wedding photos can be viewed here.

Up until now, Bea is complaining that she hasn't finished uploading all their pictures, and when I looked at her recently uploaded pics, I couldn't stop laughing at this:

Hahahahahaaaha so hilarious!!! I was caught on cam with an obviously disappointed expression! Of all the faces of single women there, the photographer decided to zoom in on my face! You know how it is in weddings- tradition would be to invite single women to gather onstage and battle in catching the magical bouquet thrown by the bride. And so from this picture which explicitly describes the story: we weren't able to get it. Hahahhahaha ano ba! 'Twas so funny because I never realized that I DO want to get married soon AND I don't remember wearing this expression that night (defensive)!

Before the 'catching'... Abounding Beauties: Only in the Philippines!

Okay, so I really want to get married..hahah...but not now. I haven't exhausted my youth yet and I haven't done or accomplished something that made a difference to people which I can boast to my future lah I'll say it: my Prince hasn't found me yet....harharharhar.

To my chicas: Say no to frogs nor chickens! We deserve Princes ;)

coarse toys pain and chopper

i love what is now called urban vinyl. i remember how excited i got when i scored a full set of the tom kids by michael lau in the late 90s from my connections with medicom in tokyo. since then, my collection has swelled to the point where i can not actively collect anymore because i've simply run out of space. of course, i accept the limited edition and signed stuff from my friends at devil robots and mad barbarians!

nooka has certainly opened up the doors for me to meet a lot more of the people whose work i admire one of which is the people at coarse toys. they designed a campaign for vans which includes super limited edition oversized urban vinyl action figures. i tracked one down in NYC before i was contacted by them to do a trade for some of our product, so now i have two – pain and chopper.

at first they didn't like each other, but look what i caught them doing in the office. take it outside boys! they seemed upset i took the fotos...worried their girlfriends would find out, but apparently the girls don't have internet where they live, so no worries.

coarse toys website is here. locked me?!

Yeah, as per the screenshot above. No kidding. And just after I registered my second site. Haiz.

By the way, the "Word Verification" is not that easy to read. =(

Mad about English `explodes' your eyes and ears

Amidst traffic-filled streets, the `Anus and intestines centre for treatment’ stands. Probably a few blocks away, a restaurant is selling something delicious called `exploding frog legs’ and in hundreds of taxis, drivers are offering the most interesting conversations to foreign passengers. This is the Beijing `Mad About English’ has sought to discover. However, instead of getting a barrel of laughs from the mistakes of the Chinese people , it demonstrated the startling ability of the Chinese to handle the English language (with the American accent).

Right from the start. the docu was singleminded in its search for the unusual with respect to the theme of learning English, which I feel pays off. After a few greetings from starngers, an instructor raps in English to a humongous class. Over a window view of Beijing's concrete showpieces whizzing past, we hear a taxi driver learning English as he drives. Then, we enter a room where only silver-haired folks are its keen students. Though retired, they listened in class with eyes wide open as if it was their first-ever lesson in school. Several scenes later, a young doe-eyed girl, of China's pampered generation, bids farewell to her mother. She is about to enter an English learning boot camp. Also of a lot of much peculiarity value is a Western English/spelling cop `patrolling' the streets making notes of errors on signs and billboards.

We are clearly not just looking at Chinese struggling with English. Quite apparently, the documentary is seeking to understand a nation's collective fervour about the Olympics, the struggle of individuals to make themselves relevant in society and even a glimpse of what the world can expect a whole nation puts its head in one direction. While, it is apparently marketed as a comic documentary, its incisive treatment of deeper social issues is what defines the film even more. At a distant glance, it is easy to dismiss the almost mindless will of the Chinese to learn English as something very Confucian or even having a shadow of Communistic drive. But fortunately, the documentary seeks to unravel, quite reasonably, though not very profoundly, the individual motivations behind learning English. Leaving the deepest impression is Jason Yang a retired man in his 70s who wants to be a volunteer for the Olympics. Of equal impression is the little girl who braved the regimental rigours of the boot camp - she wants a better life and believes the language is her passport. While most reasons are either economic or Olympic-economics, I would have loved to hear what drove the policeman to pick up English with the New York accent!While, I was just going along with the story not really questioning why the docu picked the subjects, on hindsight, it proved to be a rather all-encompassing cross-section of China. You have the man-on-the-street cases, the grey-haired cohort, the most economically active adults at their peak, the impressionable school children (in droves, as if a mirage of China's future), the occasional oddities and even the Western/foreign characters in this `Long March'. Actually, the `evangelicalistic' boot camp could be another film altogether. I have one more to add, the `invisible hand' behind all the funny signs, labels and posters, almost like a dig on the authorities.
It is also clear that `Mad about English' makes for accessible and enjoyable viewing due to its excellent production value and seasoned execution. The director Lian Pek (formerly a TV current affairs and news presenter) draws hugely from her journalistic experience in covering the subject insightfully. The visuals are spritely and the cinematography is both effective and sometimes inventive. Perhaps, it could stand as a good example of a `cross-over' film - a film for arthouse crowd that wins a reasonable commercial viewership - a nice middleground many filmmakers are trying to reach.

Taking Ourselves to Task

The author of this essay is the managing editor of Pananaw, Philippine Journal of Visual Arts and a curatorial consultant of the Lopez Museum.

BY EILEEN LEGASPI-RAMIREZ | August 28, 2008: A month has passed since I sat among a panel of writers and curators (Ringo Bunoan of Asia Art Archive, Joselina Cruz who is co-curating the 2008 Singapore Art Biennale, Gina Fairely of Asian Art News, Boots Herrera of Vargas Museum, and Lally Herrera of Businessworld) who convened on the occasion of the recently concluded Ateneo Art Awards.

Perhaps it was instructive that despite the fact that the one hour-and-a-half session was intended to take on issues about art writing and curation in the country, almost all of the questions posed had to do with writing rather than curating. In hindsight, this could’ve been an indication of any of a number of things—indifference, reticence, or intimidation.

As we had gone on with the rather casual planning that preceded this one-day forum, scenarios of curators parrying questions on preference, representation, and power dynamics were among the eventualities we thought would materialize. But having witnessed how people were willing and ready to pass up on that sort of engagement, I’ve since come back to thinking about the questions that were in fact raised—specifically about what and for whom we were doing all this writing for.

Lally Herrera was cast on that panel primarily as a mainstream media voice and she was candid enough to say that much of what gets on print is primarily subject to considerations having to do with advertising space and editorial prerogative, the latter in turn weighing in on questions of readability and palatability. And there was the rub. By the time this forum was taking place, Pananaw, Philippine Journal of Visual Arts (which was what I was representing that day) was six volumes-old. We, that is, a team of equally driven artists, critics, and cultural managers, have kept at what is essentially an uphill battle to get people (ourselves included) to look and think about contemporary Philippine art in all its complexity.

Two-time Pananaw editor, Patrick Flores, even in absentia, got much of the ribbing that mid-morning. Herrera cited him specifically for a type of writing that Businessworld’s readers would not have the patience for. And so while I sat there testifying to how Patrick could shift writing registers between tabloid and academic journal, I was also mentally reckoning with the questions on audience. Ricky Francisco, a colleague at Lopez Museum earnestly pointed out how encountering art was often difficult enough in and of itself. What more of tangling with the jargon? I believe it was at this juncture that Joselina Cruz brought up the ticklish issue of reader intelligence and how writers should not be forced “to dumb down” texts. And this brings me back to what Pananaw is still continuing to hope to do.

When we began working on this series in 1996, much of the extant publications were primarily about bluechip artists and the recurring complaint (still is) was that much of what the broadsheets were dishing out were press releases not so subtly pitching the next or as the case may be, enduring, collector-must-have as premised on gallerist spin. Deliberately or not, what was in fact getting unto the art history annals was writing primarily done with the end view of money passing hands. There was very little writing done about art that wasn’t meant to be tagged with red dots. Very little on work that didn’t come out figured out for you or dared to demand any of time, cognitive and analytic skills. The predicament was of course, not a visual art monopoly, other fields like literature and film come populated with wounded kindred.

For us in Pananaw, it was clear that art, and culture in general, should not be reduced by de facto discourse to what is almost exclusively voted upon by the most pesos. And so we set out to cover other grounds, particularly what could be seen as positioned outside the ambit of market forces and including what was being done outside of Manila, that zone still suspiciously looked upon as unjustly hogging already scant and largely uncritical attention. And so this is where we’re at, six volumes down the line.

Pananaw came upon the scene in parallel to many other developments such as the rise of alternative art spaces both within and outside the NCR, and the regional organizing work begun in the 70s but which had by the 90s, taken on a more institutional character via regional representatives in the National Commission on Culture and the Arts artist-run committees. And though we’d like to think that Pananaw had some part in getting more people to look at creative work being done in the regions, the reality is the kind of self-organizing efforts going on from Luzon to Mindanao possessed their own momentum which I personally believe made people like us attempt to map or at least scan places where art was being made but just not talked of or written about in any adequate sense.

The scene as it currently stands is a maze of self-interest and contending agendas fuelling the energies of sometimes intersecting, sometimes severely polarized networks. This narrative of broken and renewed relations, animosities and tactical alliances gets rewritten every time the art producer-circulator-receiver matrix warrants realignments. And with the present Asian market boding to heat up even further, and artists themselves gearing up to increasingly take matters into their own hands through self-management, formations of any sort are bound to become less and less static. While as a whole, this terrain of making-encountering-trading communities remains maneuverable, it is no longer so simplistically construed as the dated dualities of conservative-modern, figurative-abstract, conceptual-social realist strains would have us resorting to so lazily.

Taken to a laughable extreme, no sober, well-meaning viewer today would have the audacity to ask a visual artist tinkering with some long drawn out artistic or philosophical conundrum to pare it all down, no matter how reductively just so ‘everyone but anyone can get it.’ Think of how impoverished this world would indeed be if none of us ever moved on from drawing stick figures and coloring within the lines.

And so, asked about how he would have responded to Herrera’s comment had he been at Ateneo last July, Flores casually replied to this writer: “But art is difficult.” Indeed, why should the writing on it be any different?

This essay is a postscript to Pananaw's`recent collaboration with the Ateneo Art Gallery and Asian Art News on the 2008 Ateneo Art Awards Zones of Influence public forum held at Ateneo De Manila University.

art show in brooklyn postponed til the 18th

i know it's not much notice, but i will have a small art exhibition at the halcyon store in dumbo brooklyn, thursday september 18th, 2008. nooka, nookanooka, and some fairies will be there along with a new set of acrylic on canvas paintings by me – all in the theme "life on mars". the show will feature some new small sculptures as well.

the halcyon store site is here.

It's Marvellous what Milo can do for Singapore

There was just too much bad gossip about `Kallang Roar' being a shaky first-timer attempt to make a feature film on something involving a cast of thousands. To be straight to the point, the film needs to be watched and supported. To be a little more analytical, it is a simple conventional story that on one hand makes you think you have seen something like that before but on the other, gives new life to a subject matter as faded as the only photographs that remain of the event - the 1977 Malaysia Cup.
Kueh Lapis was apparently an important factor in determining Singapore's success at the 1977 Malaysia Cup (the other was apparently Milo). Well, Kueh Lapis was Uncle Choo's favourite snack. Uncle Choo, FYI, was the coach who brought the Lions to victory. It brought him back to Singapore (if I am correct cos I was slightly late for the movie, but am relying on Ding An's short film that I watched). That was just the prelude. Then, the opening credits fade in and out over a series of moving shots of a weathered National Stadium. In the shots, a lonely soccer ball bounces across the screens, raking up memories of the past. It makes a truly haunting image of the National Stadium (soon to be torn down), especially with its nostalgic 16mm film quality.

I had a chance to read Ding An's credentials during the Kallang Roar press conference in March this year. He's garnered some achievements in scriptwriting, which I was able to appreciate in the storytelling of the movie. There was nothing very inventive about the direction or cinematography. In fact, the uphill task of recreating the 70s and the soccer crowds narrowed the cinematographic choices. But the gem in the film was undeniably the screenplay and storytelling. While it could be easily faulted as formulaic and old school, I actually thought it still managed to pack a huge dollop of heart, wit and surprise. And not forgetting, it made me remember a bunch of spirited inviduals and not a uniformed group.
Uncle Choo handpicked a group of boys to form a soccer team after being rejected from coaching the national team, currently under the tutelage of a `foreign talent' named Hartley. As boys, there were difficult to distinguish except for the race, because boys are just boys. While, the quirky training methods (like singing Majulah Singapura) draw a few laughs, the deliberate silliness of it and the Milo endorsement made it too much like eating melted cheese.

But the content thickens as the boys grow older because the story gives the audience a meaningful glimpse at the personal life of each of the player. And very surprisingly, the personal moments are short but poignant. We get a first glipmse of their lives when they first hear Uncle Choo's assembly call for the team. Amidst corrugated kampung walls, retro/modish 70s furniture and lots of table-cloth prints on shirts and of course, bell-bottoms, the men react like boys to the call, excited to train on the same field again.
Then, the cliches begin. The first being the scene where Uncle Choo asks them to knock it down (now why do I find that familiar?). The rest follows like any other `school', `academy', `boot camp' type of show. The coach is legendarily strict. The students are there to learn something difficult but start off as a motley bunch of jokers (well, less so in Kallang Roar though). They are way behind their coveted goal. They have to learn to survive a regime. At times, they rebel, but the coach straightens them with his iron fist. From my memory, I recall Police Academy, Army Daze, `Bao Kao Ban Zhang' (Taiwanese movie in the 80s) and most of all `qi xiao fu' (80s mopvie also called Painted Faces about a Chinese Opera troupe. It feature Sammo Hung as the brutally strict master who whipped his boys into discipline. `Kallang Roar' saw much of the same `no pain no gain' theme throughout. The boys were punished for having a disco night out. On a pouring morning, just when they thought there was no training, Uncle Choo stood at the field alone drenched and awaiting them. And there was the quirkily true-to-the books low-carbo debate between Uncle Choo and one of the soccer board members who did not like to waste food! While I sometimes rolled my eyes in thought of how old-school and outdated the plot was, I am surprised occasionally when the story opens up new angles like how durians can surprise you when you thought you saw the end. What struck a chord was the dilemmas and inner struggles the players faced in balancing both livelihoods and their passion for soccer. Apitchay had his job to keep. While, his employer initially supported like the rest of the nation. Fate betrayed him when subsequently, his employer decided to let him go. Dashing Mat Noh had an equally stunning girlfriend. But while he was in camp, he could only lock arms and lips wiht her through the rusty iron gates. Most poignant of all was Quah Kim Song. Teary-eyed by the bedside of his invalid and amnesic father, he hears a painful truth - his father mistakes him for his brother and urges him not to run after worthless pursuits like Kim Song. Unmistakably, I saw the ingenious work of Ding An's pen.
Personally, I was very eager to see the final stadium scenes. There were about 300 of us as extras those 2 nights helping to form the Kallang crowd. It was breath-taking how the final 20,000 odd crowd was `created' to pretty realistic extents even when projected on the big screen. Quite an indomitable post-production feat. Take a look at this picture, it says everything. But what's more an achievement was the choice of camera angles that accentuated the size of the crowd. I especially adored the scene where the lions enter the field and the camera tilts to reveal people awaiting by the railings of the gallery gate.
The amateur nature in which the game was played escaped my eyes because I am not into soccer. I even laughed along when Uncle Choo deployed the `Crazy Horse' while the soccer pros tell me the way the `horse' was running was wrong and too comical because the actor was plump. Btw, the actor is Dollah Salleh's son! Going by history and the conventional storytelling, it was not difficult to guess the ending. Luckily I was spared too much `Untuk Bangsa Dan Negara, Majulah' for Lim Kay Siu's hysterics were more than enough for me to handle. And to be fair, there was a cute little surprise at the end - it tells us how Fandi Ahmad came into the picture.

proud to be a cat auntie

if you have been following the local cat blogs, you might have heard about a hoarding case of an old woman in a roach/maggot-infested 3-rm flat, which she shares with 40 unsterilised cats, 2 dogs and 2 tortoises.

it is rightly called a house of horrors, with black streaked walls, cobwebs, flying roaches, sick animals, dead animals, broken tiles over which animals defecate, everywhere. and in the midst of all these, a stubborn cranky suspicious forgotten old woman.

a couple of cat aunties discovered this and with understandable trepidation but unusual courage, took it upon themselves to help her. jamie and janet, i don't know what classes you did at school, for darn sure, everyone else should have gone to the same!

they started the ball rolling and inspired a lot of people along the way to get involved, the woman being one of them. Babywail's Shelter gives a complete rundown of the events surrounding this case, Lynn being one of the pioneer volunteers herself.

for sure, a case like this draws much attention and on some forums, even on Lynn's blog, there has been some contentious comments. some said that the old woman should be locked up, some said the animals should be taken away from her, some said that the volunteers are taking things into their own hands and the authorities should be involved, one even hoped the old lady will die soon.

our woman won't even be bothered to answer the person who posted that last comment.

her initial reaction from discovering this case was also that the old woman should be in a home as she seems to have a condition, obviously can't take care of herself, much less the animals. but upon meeting the old woman, she did an about turn.

this old woman is far from being non-functioning. and the bond between her and her animals is undeniable. she is frail for sure but lucid she still is, sometimes to the point of sharpness. she understands, but she is unable. she feels, but she is resigned. she doesn't have a mental problem. she is just trapped in the unforgiving state of being old and alone.

the final nail in the coffin of despair would be to take away the last of her freedoms and in particular, the little ones who love her so dearly when everyone else had gone away. she simply needs warm human bodies with friendly faces and willing hands, which in a world population of 6.684 billion, is in short supply.

so until the day we have a solution for the helpless that wouldn't conclusively break their human spirit, no easy decision can be made in a case like this and for better or worse, the authorities and the organisations have stayed distantly silent.

and so the day is saved by a swat team of cat aunties armed with face masks, shower caps, mops and cat traps. partial to both human and animals, they don't choose one over the other and save them all. they fundraised, they scrubbed, they sterilised, they befriended. their special ability? having ears close to the ground (often an excellent source of information), great powers of persuasion (try outtalking a cat auntie), speaks all the local dialects, networks with handy people like taxi drivers and contractors, garang, gung-ho, and most importantly, not afraid to get hands dirty.

it is our hope that when the conditions of the flat and the animals have stabilised and the old woman's trust in people regained, people will come back, family, social workers, befrienders. in the mean time, she has the formidable cat aunties and that is nothing to turn your nose up at.

Arabic Coca Cola

A shot out of curiosity. I find the logo design is cool. My guess is that it has to be read from bottom to top. Nothing else differs. Not that the taste, for sure.

Celebrate Drama - `Colours' by Derek Lui & Lee Chee Tian

Is it true that Celebrate Drama (16th Aug) was an event meant to allow youths 12-30 years of age showcase their works? That means Kelvin Sng, father of 1 (or 2?) is apparently a youth and I am over-aged for this. Guffaw! Thanks to Facebook, I learnt about this event and decided to pop by to catch some of the films I missed out from other showcases. Unfortunately, they jumbled up the screening order so I had shuffle in and out of the cinema avoiding the pain of sitting through I had watched at least 3 times before. Two films stood out from my experience. The first was Colours by Derek Lui and Lee Chee Tian. I came across the title sometime ago on It intrigued me. I really liked how the film mused about life in the beginning withholding the real subject matter. Many films end with a question, this one begins with one (actually 3). I can’t remember what they were but they questioned, in fact, challenged common perceptions of what we see in everyday life. Then a girl (in colour) appears. Everything around her is in Black and White. Lest you think it is another quirky gimmick(bordering on the tacky), it turns out the girl is colour blind. In class, she fails to identify the colours held up by the teacher. At the canteen, she fumbles at where to deposit used plates due to the colour coding of the basins. And nobody around her seems to know, highlighted by the colour contrasts used.
Then, she seizes a chance to make a turning point in her life when she finds a rainbow-themed pair of shades at a playground. Its toy-like appearance belies the magical powers it has – to `colour’ her world. Then, the visuals change and we are dancing to a more joyous tune as our Cinderella's world changes for the better. She revisits the earlier scenes but in full colour, in a way that would thrill the kids watching it. But one technical point though, the colours looked very saturated, I suspect it's the fault of the screening facilities. Or was it a directorial decision? That because she experiences too much colour, she starts to see things she was not prepared to see. Upon googling, this film actually won a prize at the Auburn Children's Film festival and has travelled to many children's film festivals, which made me realise the lack of children films in Singapore.

september month o'press continues

how magazine! check it out.

you know what you do best

why wait another 4 years when you know what you do best. give yourself a gold, a silver or bronze zub. i decided to stay away from new fall colors and do new fall finishes. these will be available soon at fine stores as well as out website sometime in september. i'll update exact dates when the drop.

Meeting on the repainting of Tiong Bahru - 6th September 2008

Kelvin Ang has just emailed out to every possible residents within the Tiong Bahru Estate to keep them in the loop about this important up-coming meeting to discuss about the repainting issues:

Dear Neighbours and Friends,


1. I am pleased to inform all of you that the Tanjong Pagar Town Council will be, and is pleased to be organizing a session for the paint consultant to share their thinking behind their current paint schemes, as well as to provide a platform for all other residents to share their thoughts and ideas on the current schemes up for voting, and also alternatives suggestions that they might have developed that they would like to share with other residents. (for possible re-voting)

2. All residents of the Pre- and Post-War SIT estate are welcome to attend. The Town Council will also be inviting the members of the Seng Poh Residents Committee to the sharing session.

3. Tiong Bahru CC at Eu Chin Street is the host and venue of the sharing session, and the details are as follows:

Date: 6 September 2008, Saturday
Time: 1pm to about 2.30 pm
Venue: Tiong Bahru Community Centre, Conference Room
ground floor, just after the entrance at the Tiong Poh Road Entrance)

4. A lap-top and projector will be provided by the CC, and those of you who wish to share your ideas are welcome to present them in a short computer presentation, e.g. Powerpoint, of no more than 5 minutes.

5. If you do wish to share your ideas, do let me know by 30 August, so that I am able to collate the information for the CC to help in planning the event.

6. Please also do think through if you have suggestions/preferences on the following:

a. Voting system – some have mentioned that it may be better to ask residents to rank their top 3 choices instead of just having to choose 1, as there would be more consensus on the final chosen scheme,

b. Whether the option of retaining the existing scheme should be one of the options, and

c. Whether if you prefer the Pre- and Post War estate to have the same colour scheme instead of 2 different schemes.

7. We would also appreciate if you could spread the word to those of your other friends and neighbours who would be interested and would like to attend the meeting on the day. It would be a great chance to get to know both old and new neighbours!

8. And, please RSVP by 2nd September 2008, by emailing to me

9. Thank you one and all for your interest in the 'hood!

Yours sincerely,
Kelvin Ang

Isabel's Painting

On my flight back to Singapore, I didn't expect that I would meet this cute and super sweet girl. Her name's Isabelle Villar and she was sitting beside me in the plane. I smiled at her and she smiled back, forming round bulges with her suntanned cheeks. I resumed my aimless task of solving a sudoku puzzle and she started filling up the embarkation card. I couldn't help but glance over her shoulders as she scribbled tiny letters. I told her, "Sweetie, you should write in block letters." To my surprise, she started drawing boxes around each letter! I laughed and told her that I meant capital letters. She then drew several lines over the words as if trying to erase them and asked for her mum to write for her instead.

After a while, she started telling me about their five dogs back in their house in Magallanes Village and how she has taken care of them. Suddenly, she unzipped her backpack and pulled out her sketchbook and began showing me her paintings. They were so beautiful, but what's more amazing was the fact that she's only 8! Then she took out a clear plastic that contained a couple of silver bling blings she just bought. I commented, "Yo! They're really nice, yo!" She began to whisper something to her mum so I looked out the window. After a while, she tapped my shoulder and offered me the other necklace! I was so surprised by the sweet gesture but I told her I couldn't possibly accept it. She was really persistent so I asked if I could have one of her paintings instead. She agreed, signed her name on it and gave me her Manila address asking me to visit her soon. Aaaaaawww....such a sweet sweet darling!....

I don't know but somehow I felt refreshed with that encounter. You see, while waiting for the plane to land, I was actually talking to God. I asked Him for strength and guidance as I continue my journey with a promise to let go of the past and give it my best shot this time. And He gave me Isaiah 43...."Do not be afraid...I have called you by name; you are Mine....because you are presious to Me...I love you..."

Geee!! He was telling me He loves me not just in words but through Isabelle! I was feeling down that time but having met her felt like my heart was being balmed. He was romancing me in ways that just left me awed. Thanks, Isabelle! Thanks, Dad!

Hern -- the new perspectives

After 5 years of "live and learn", On the 31st of July, we decided to stop doing what we have never been good at, see scape, the restaurant, and stay home, get ready for the new project at the same place.

See Scape will be renovated and used as the furniture and design shop and, if possible, making it as Art Hub which we always dream of so many activities can be made happen this time

"functional art" as Khai had once described is what P' Hern has been doing and always wanna take it serious.P' Hern could not believe himself how he could sketch, at least, 10 things everyday and made it right away with the help our Pi Mee, his assistant.

He seems happy, relaxed and he even painted friends' portraits which he has never done it since many years.
His design will be named as "Hern", however, business plan is what we have to think carefully this time.

บ๊ายบาย see scape หลังจากงงๆไปกับการทำร้านเหล้ามาอยู่หลายปี เนื่องเพราะไม่ถนัดและก็ไม่ยอมไปต่อให้สุด เพราะแอบมีใจให้กับงานดีไซน์ ตอนนี้เลยต้องพักตั้งหลัก และมุ่งไปในทิศทางที่ควรจะเป็น เดี๋ยวจะแก่เกินแกง
ช่วงนี้เป็นช่วงพักอยู่บ้าน วางแผน ส่วนพี่เหิรก็ตั้งหน้าตั้งตาผลิตและผลิต โดยมีพี่หมีเป็นดำลังสำคัญ แทบไม่อยากเชื่อตัวเอง พี่เหิรนั่งสเก๊ชนั่นนี่ได้วันละเกือบสิบชิ้น
พี่หมีก็นั่งทำๆๆออกมาเป็นของจริง ท่าทางน่าสนุก
งานโปรดักส์ชื่อ Hern จะถูกปล่อยออกมาเร็วๆนี้ ที่โลเคชั่น see scape เดิม และถ้าทุกอย่างลงตัว seescape จะถูกเปลี่ยนเป็นแหล่งงานอาร์ตและดีไซน์ และยังนั่งชิวได้เหมือนเดิม

below is some samples of what has happened after see scape

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