Category / Personally Speaking 私物語
發明你的字句，操練你的發聲，給未有名字的起個名，為碎片堆築一條路。Share it if we deserve it: thoughts on living and being, poetry, automatic writing… silences, speechlessness, noise, soundings… fragmentary thoughts in search of a path, elliptical sentiments, the unspeakable…
Cherie Wong / 我的夢碎片 (六） –《雲彩》。圖文對話 My dream fragments 6: “painted clouds.“ Text-image dialogs.
From her pool of automatic drawings turned wooden fragments of her dreamwork, young artist Cherie Wong shows us a certain inquisitive state of mind. 王晴雯從她的木製「夢」碎片寶庫裡再掏出另一首圖文對話的詩，是尋問的現在進行式。
Cherie Wong / 我的夢碎片 (五） –《漩渦》。圖文對話 My dream fragments 5: “Whirlpool.“ Text-image dialogs.
From her pool of automatic drawings turned wooden fragments of her dreamwork, young artist Cherie Wong goes round and round in circles. An endless journey. 王晴雯從她的木製「夢」碎片寶庫裡再掏出另一首圖文對話的詩，太空無邊際，峰迴路轉卻有軌跡。
WONG Fuk-kuen / 我與彈珠人：小孩的他和三十歲的他接軌了。 B-Daman and I: once a kid, now I’m 30
「我跟彈珠人有一種緣份，跨越了二十多年時間，這種特殊的喜愛也是一樣的。無論在小學，還是到現在，相比其他漫畫，這個故事情節也比較真實...。」（2017，黃福權）成年人眼中的沈溺，在一個小孩來說，或許是有他們的原因的，也可以是一生的能源的暗出口。今天的他再回顧小六時候的記憶。Wong Fuk-kuen sees a clear linkage between the young kid and the adult of himself through the marble shooting toy B-Daman. Here, he speaks of the 20-something-year attachment.
Vanessa Tsai / 也說說寫寫我的少小時候 Loose thoughts on my childhood days, all those years…
一個小時的飛航時間，把香港和台灣分隔成兩個歷史溯源和軌跡有交疊卻體驗不一樣的生活世界。又或者，貌不似而神似？身為小學老師的「據點」海外作者蔡季妙用今天的視野去「重訪」小時候的自己，不期然想起了教科書。Primary school teacher Vanessa Tsai, FP overseas contributor, revisits her young self through the lens of contemporary society: her primary school textbooks and experiences weigh on her massively. How is Hong Kong and Taiwan linked to and set off from one another other than the 1-hour flight that sets them apart?
Kel Lok / 《三毛流浪記》#七 讀後感 X, Y and Z reading the wanderings of Three Hairs #7
2020年7月，據點成員駱敏聰從黎肖嫻的手裏取來《三毛流浪記》全集的第七集，寫個自由發揮的「閱讀報告」。三毛的遭遇，在三個「問三毛」的「隨機訪談」中漠然化開了，難成合體的論述；讀故事的人卻在前台亮點。這是個有關當下香港人的非典型讀漫畫的案例。FP member Kel Lok took #7 of the story of Three Hair's wandering to attempt a book review, which turns out to be an ensemble of personae reading the copy on a poor kid's encounters in the war-torn years of 1930s-1940s through the lens of a contemporary person. The sensationalist... The skeptic... The indifferent one... The one making detours...
Vanessa Tsai / 台北《巢》 獨立影音計畫 觀後 有感 A visit to Endospace Sound Visual Art’s “Nest”
《巢》是「安全感」的符號，內部的情感流向自成一體，同時是個「開發可重複利用的媒體裝置」；對訪者來說，強調無敘事的觀賞。據點海外作者蔡季妙於2020年12月底到訪了。巢內部住進皮膚裡的感官思維是怎樣的呢？Nest is the exquisite architectural work of the Ploceidae in nature; "Nest," now on in Taipei, is an enclosed installation space of internal circulations deploying recyclable media. FP writer Vanessa Tsai just paid a visit.
Cherie Wong / 我的夢碎片 (四) –《觀星》。圖文對話 My dream fragments 4: “Looking at the Stars.“ Text-image dialogs.
From her pool of automatic drawings turned into wooden fragments of her dreamwork, young artist Cherie Wong was watching the stars inside her own universe. 王晴雯從她的木製「夢」碎片寶庫裡再掏出另一首圖文對話的詩，在她創造的世界裡觀星。
Jess Lau / 藉水而流的家族故事 Family stories along the flow
眼前的一切像多年的堆積，與之共存的是看不見的已被拆毀的家族過去的小節的餘韻。說到家族，也不是家國大族的堂煌，而是一張具體的網，連接、輸送、維繫，有個物理的據點。據點藝術家劉清華的「田野」訪談，拖出了「生存」的問題。如何活？我們如何從過去走到當下？過去的可以延伸下去，因為我們記得，而且還（用方法）記住。A community art project opens the door to a street of rich family stories in To Kwa Wan (Kowloon) for FP artist Jess Lau, thus also an old family story she has not dared to touch until now. Unlike tycoon stories of a growing empire, ordinary family stories are full of "holes" irreparable yet holding together those who refuse to forget.
LAI Wai-leung / 總在你身邊 (九) – 起身喇! Just Around You 9: “Wakey-wakey!”
What was life like for an ordinary kid growing up in crammed flats in public housing? Tough, but ordinary, when the notion of "poverty" was not turned into an ideology that undermines you. 1960s, 1970s. Hong Kong. FP writer Wai-leung Lai recalls... 只有最基本的資源也是日子的一種。活著總有生趣，就看你。那是當「缺乏豪華生活」未被化成統計，未被化作意識形態之前...。普通人的普通故事。
Cherie Wong / 我的夢碎片(三) – 爬。[電]梯。兩椿圖文對話 My dream fragments 3: Climb. Elevator. Two text-image dialogs.
From her pool of automatic drawings turned into wooden fragments of her dreamwork, young artist Cherie Wong pulls out another two to form two new dialogues as image-text poems. An obsession with movement, or is it immobility? 王晴雯從她的木製「夢」碎片寶庫裡再掏出兩片，成了兩首圖文對話的詩，像彼此勾連，又似莫不相關。爬、行，卻是移動的衝動，徘徊的辯證。