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No feeling is final I shake hands, make things & tell stories
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Recent posts
A blue butterfly in an abandoned site of Yokosuka, fallen leaves from somewhere only he knows inside where the wild things are, a pack of hope in the middle of nowhere, memories of someone left forgotten, passed on to me in these pages.
Don’t remember how these marks got slipped in where they are, somehow they’ve become a strange echo. A shop card said “Discover Utopia” in a book challenging how consumerist society treats those left behind by a shifting world as disposables, just to keep the machine running smoothly. A wrapping tissue of “Little Birdy - uncommon kind of goodness” inside Wilde’s parody of a pompous firework. A post-it trying to decode something else, something I don’t have the pieces yet, in a story trying to speculate from nothing. When all I want is just to turn the page, turn the page.
13 Oct 2026
All the trees that I wish to show you
(after watching “Two Seasons, Two Strangers”)
Met a middle-aged stranger after the film, ended up at a place that I’d wanted to visit for a long time but never had a chance. There I met other strangers and had a merry stranger Christmas in this small town I came to on a whim.
There’s a short film by Shō Miyake that I like, “NAGAHAMA”, a 18-min film with no dialogue. For the whole time, Shizuka Ishibashi was in that world all alone, wandering and dancing by the sea, from daytime till it was all dark there. At the very last moment, the vision of the distance shifted.
I always thought that it was the tree that caught my eyes as I passed by, looking at the photos now, I realized it was the tree who turned its gaze towards me.
09 Sep 2026
最初選擇紅色筆記簿，只因書枱長期混亂，隨身之物多是黑色，選了個一眼就看到的顏色。多年後讀《City of Glass》，讀到主角用紅色筆記簿鉅細無遺記下調查對象一切，從每個細節𥚃嘗試找出各種隱藏意義。
感受最強烈的描述是尾段主角在空無一物的公寓𥚃，脫光衣服，在地板上盡用所有時間在筆記簿上書寫，消亡筆記簿的空間，消亡作為個體可以留下的存在紀錄/記錄個體的消亡。筆記簿上的文字寫得越多，可以書寫的日照時間卻變得越來越短，文字的意義也變得越來越虛無。後來看 《Satantango》電影，結尾醫生把房間封黑那一幕，不知為何立時想起《City of Glass》這幕。終幕醫生在漆黑中於筆記簿上寫下故事的第一句， “One morning at the end of October, not long before the first drops of the mercilessly long autumn rains began to fall..." 看到這幕時剛好是10月30號的清晨。《City of Glass》結尾時敘述者和故事中的作家Paul Auster 去到那個空置的公寓，在地上找到被填滿的紅色筆記簿，主角卻消失無蹤。筆記簿上最後的一句是“What will happen when there are no more pages in the red notebook?" ，兩本小說於同一年出版。
Paul Auster 出版過一本名為《The Red Notebook》的書，寫的都是stranger than fiction 的真事。打錯電話去他家找偵探社是真的，不過打來兩次他都說打錯了，後來成為了他第一本小說《City of Glass》的開端。把自己的名字給主角冒名，連自己和家人也有出場。 “Most of all, I wanted to remain faithful to my original impulse. Unless I stuck to the spirit of what had really happened, I felt there wouldn’t have been any purpose to writing the book… For better or worst, I felt I had no choice.”書出版多年後，Auster已經搬家並改電話，某天接到一個帶着濃厚口音的男人來電說要找Mr. Quinn，以為是朋友打來的整蠱電話，對方的聲音卻非常真誠，急切要找這位姓氏和 《City of Glass》主角完全一樣的人。
沒有書中其他改寫人生瞬間的事件的重要性，不知為何卻很喜歡洋蔥批那段，想起村上春樹《麵包店再襲擊》雪櫃裏兩顆乾透的洋蔥。自己也經歷過家裏只剩下洋蔥的日子，認真思考過如何把洋蔥煮成美味又可以填飽肚的食物，看完有點想整洋蔥批。還有從陌生人手上獲得一直遍尋不獲的那本書，也有過意義上相似的經歷。
書最後一篇《It Don’t Mean a Thing》由Auster一個認識的法國詩人開始，幾件事件冇甚關連，看下去卻有種說不出來的節奏，逐漸浮現只有當事人才能感受到的驚人連繫及意義。各時期發生的事，相隔很久甚至隔代才發現偶然關係。看的那本是舊書，某一位擁有者在書中的兩段劃了記號，一段只有幾個字，完全看不出特別之處。另一段是Auster 救了妹妹朋友的性命，多年後才發現對方根本不知道曾經發生過危險，“The whole incident had taken placed in a flash: ten seconds of her life, an interval of no account, and none of it had left the slightest mark on her. For me, on the other hand, those seconds had been a defining experience, a singular event in my internal history.”
這些筆記簿裡沒有甚麼奇幻的巧合性，都是一些工作紀錄、訪問筆錄、只有自己才看得懂（有些現在也不太看得明)的styling 或shot sketch、道具草圖，notes from director/choreographer，劇本、角色分析筆記。寫過的短故事，在無法拍照時無論如何都想要記住的景色；也有和言語不通的人筆談的紀錄，各種距離下有意思的談話。某些近年才再深入一點思考的事，原來在許多年前曾經和人說起過，也一直以各種方式出現過。也有寫下想告訴某人或自己非常重要的話，現在依然重要。在處理掉這些舊筆記簿前想記錄一下，相機卻處於 shutter blade隨時會再lock up的狀態。一邊等待感覺更接近消失前的日光，一邊想這會不會是最後能照入相機裏的光，最後能拍下的照片，結果最後按掣的那一張真的沒有被記錄下來：）
28 Aug 2026
How do we come by our values? From where we were born and grow up? From somewhere on the other side of the world where we’ve found meanings that’s only connected with few people? From an encounter during one summer that stays with us forever. From things you’ve only heard once, yet that change how you see forever? From our close ones who we’ve known for years, or from the part of their lives we’ve never met?
Are values held in things we’ve held on over time & places, or in the one thing that in exchange of everything we’ve left behind? Are values live in who we were, am, will be, or someone who we didn’t take that path and become on that early morning?
Why do we see our memories inside someone else’s stories? A jacket with giant hood by Matt reminds me of the tent I made in the living room with dinner chairs and blanket, in the middle of the living room everyday, my secret world till dinner time. The view from a place where we shot, someone’s home we found by coincidence, Feicien found echoes to all the memories of himself and those he collected from others here and there. And suddenly I’m back to that summer long ago, in a country that I didn’t eventually move to as my family planned. Perhaps it’s that haze, heat or sound from nowhere, reminds us of some very long days in our lives.
I thought about those people who I’ve learnt some very dear values from, what do they choose to keep with them as time goes by, as I was making these memories, with Matt, Feicien, Jason, Sid, Shing Fung, April & everyone on the island that day. Perhaps that’s why I’ve an affection for clothes that are honest, basic, as it is. A shirt that I can see the shirt and the person who owns it. Clothes that feels like me, of now, ago, and maybe later — as they keep adapting, transforming, yet something very dear stays. Something feels familiar, present & unknown at the same time.
@matt_hui_ calls them a collection of the essentials, what’s more in there are all those witty twists and dear details, possibilities to dress up & down, wilder or wiser or both, as we keep learning how to put ourselves and things together, keep wearing them, really wear them over time.
“The Second Dawn”
05 Aug 2026
memories from last summer
or long ago
perhaps never
maybe next year
“The Second Dawn”
@matt_hui_ debut collection
creative direction w/ @matt_hui_ @feicien.feng
photography @feicien.feng @ofstudio.hk
video & styling @runwildrun
model @sid22___ @khalilmj @apr_ily
makeup @kayanawata
stylist assistant @jerrrrman
01 Aug 2026
Matt Hui’s debut collection “The Second Dawn”
creative direction w/ @matt_hui_ @feicien.feng
photography @feicien.feng @ofstudio.hk
video & styling @runwildrun
model @khalilmj
makeup @kayanawata
styling assistant @jerrrrman
28 Jul 2026
long summers
Matt Hui’s debut collection “The Second Dawn”
creative direction w/ @matt_hui_ @feicien.feng
photography @feicien.feng @ofstudio.hk
video & styling @runwildrun
model @sid22___
makeup @kayanawata
styling assistant @jerrrrman
25 Jul 2026
signs to nowhere
07 Jul 2026
God of the In-Between/
Oxymoron既是矛盾亦非二元，寫了相反的A及B，意味卻是既A亦B 的N，而不是非A即B，AB的比例卻沒有言明。希臘神話中，傳說宙斯的兒子Hermes 觀看雀鳥飛行的形態而發明了最初的字母，亦發明了數字、度量衡等溝通基準，甚至被歸功於繪製星圖和命名星座，並被視為溝通及商業之神。基準及制度聽起來冰冷鐵定吧？偏偏Hermes性格狡黠機智，是希臘神話中典型的惡作劇者，還是嬰孩時已經偷同父異母的哥哥太陽神Apollo的牛，甚至懂得留下倒相反方向的蹤跡以擾亂視線，被捉到時又拿出自己發明的豎琴讓Apollo 瞬間放過他，甚至以牛群交換樂器。Hermes經常透過巧妙言辭或新奇發明來化解危機或達成目的，深受宙斯歡心，命祂為使者，給予自由進出天界、人間及冥界的權力，負責傳達神意。古希臘時代用來作為地標，顯示邊界的石柱赫爾墨斯柱（Herma）之名源自Hermes ，邊界之石以越界之神命名。
文字的意義隨時間、背景、甚至非語言的交流而變化，詮釋學 (Hermeneutics) 研究理解與解說的學問，探討人如何解讀文字或意義，Hermeneutics源自希臘文 hermēneuō，意為翻譯、詮釋。神的意旨無法以字面理解，Hermes 這位語言、演說、資訊的守護神，靈巧地向人類或眾神傳意。Hermes 也是雙子座的守護神，雙子座傳說中同母異父的雙生兄弟中Castor 為凡人，Pollux 則繼承了父親宙斯的永生。Castor 死後Pollux 把一半永生分給他，一人在天界，一人在冥界，輪替互換，在兩極之間不止流動，宙斯為了他們可以在一起而把他們升上星空中成為雙子星座。看過一個展覽介紹以星座分類藝術家，星座之說不能蓋全，但思想方式或氣質相近的人，又經常巧合地同屬於某一星座。雙子座是「靈活的風」，遇過的雙子座創作者好像都具備雙重性且非常靈敏，還有一點銳利的曳，是很喜歡又想學習到的特質。
Hermes既是保佑旅者、運動員及商人的神，亦是詭計及好運之神，發明骰子，守護賭徒、騙徒及偷竊者。Hermes於羅馬神話中名為Mercurius /Mercury ，星座研究中相信水星影響思想及溝通，拉丁文 mercari 意思是 「to trade, to buy, to deal in merchandise」，也是Mercurius的字源之一，Mercari 是日本市場佔有率最大的customer-to-customer 二手交易平台。英文 mercurial 既指和水銀有關，亦指瞬間變換的狀態，這位難被界定的神今日依然四處流動。
“sharp dull”
creative w/ @heisanhung @ifunwrong
photography @ifunwrong
words, styling & set design @runwildrun
makeup @heisanhung
hair @allhs__
photography assistant @wuhosun
with Agnes Lam
@summmlm & Sid22 @sid22___
distance 04
@mings.hk May 2026
09 Jun 2026
loud whisper ｜sweet sorrow ｜ terrible beauty ｜ icy hot ｜ friendly takeover ｜ even odds ｜ true lies ｜ virtual reality ｜ controlled chaos ｜ cruel kindness ｜ clean dirt ｜ same difference ｜ unbiased opinion ｜ small crowd ｜ true fiction｜ random order ｜ pretty ugly ｜ original copy ｜tragic comedy｜ only choice ｜ open secret ｜ awfully good ｜ alone together ｜ seriously funny ｜witty fool ｜ old news ｜ everyday magic｜genuine imitation ｜ darkness visible ｜ absent presence ｜intimate distance
Oxymoron一字本身就是個矛盾語，希臘語 oxymōron 意為pointedly foolish，字源oxus (sharp) 及 mōros (stupid)。《Romeo and Juliet》第一幕裡，羅密歐以連串矛盾語描述愛情帶給他的狂喜、混亂與痛苦：
Why then, O brawling love! O loving hate!
O any thing, of nothing first create!
O heavy lightness, serious vanity,
Misshapen chaos of well-seeming forms,
Feather of lead, bright smoke, cold fire, sick health,
Still-waking sleep, that is not what it is!
This love feel I, that feel no love in this.
吵鬧的愛、憐愛的恨、美觀的雜亂、沉重的羽毛、明亮的煙霧、冰冷的火焰，憔悴的健康，覺醒的沉睡，否定的存在；連串矛盾就如愛情無法以一言以蔽之。說起愛情之不能言詮，第一時間想到的不是任何文字及台詞，而是《A Short Film About Love》男主角在天台上用冰塊貼著耳朵那幕，及 《Asako I & II 》（寝ても覚めても）裡幾次重逢及結尾，silent scream ｜eloquent silence 比激蕩台詞更能描畫愛情複雜凶湧的能量。河水渾濁，河流很美。
“sharp dull”
creative w/ @heisanhung @ifunwrong
photography @ifunwrong
words, styling & set design @runwildrun
makeup @heisanhung
hair @allhs__
photography assistant @wuhosun
with Agnes Lam @summmlm & Sid22 @sid22___
distance 04
@mings.hk May 2026
30 May 2026
もも太郎/ Dolphin Hotel
名稱不是海豚酒店，甚至不是在札幌。停留在某個時空的空間，公然地和依然運作的空間並存，還沒亮燈的接待櫃檯後傳來「歡迎光臨」。
在奇怪的時分醒來，身體出現不尋常的狀況。電梯到了天台，有光，也可以看到外邊的天空，卻有種跨出去以後就不能回到這邊的感覺。在應該是開始了吧但又像未開始，甚至不知道會不會開始的時分到達這城市，看到以盆栽劃下的訊息，心知道是界線，身體已經不受控地跨過去了。
穿過隧道便是雪國，同一城市相隔一條街，甚至在同一條街上也有著國度與時差。もも太郎的出生地不在岡山，名字與外貌不再相認，桃色𥚃滲滿士多啤梨糖漿和蘋果汁。
31 Mar 2026
「夏天的時候，她病了一場，各種聲音像鶵鳥，紛紛在她的各個器官冒出，於是她閉上眼睛，任由聲音瓜分她的腦袋及身體。」第一次讀韓麗珠的文字時相當震撼，沒想過體內那些觸不到卻暴烈的感，在魔幻的灰調下顯影得那樣清晰。影像那麼遠，身體深處某部份卻出現微弱而實在的波紋。
《離心帶》中城裡的人身體愈來愈輕，體內某些重要的東西，那些用以維持平衡和重心的元素一點一點地流失，直至某一刻身體終於不受控如氣球般飄起來。韓淡然抽離地敘述著人生的失焦失重，不能承受之輕。各階段中與自己曾認知並相信的身體、價值觀及關係逐漸遠去，無法再在原來的軌道以原來的方式前進。
「他曾經在她熟睡以後，仔細地端詳她的耳朵，那就像一艘橫置的船，有著豐富的下陷，他要把胸口內所有洶湧的話全都注進那個彷佛可以包納一切的深窩。他想要看看那艘不知開往何方的船沉沒。」讀到這段時，剛好在一個很小的碼頭𥚃，在曖昧的天色中等待當天最後一班船，一艘很小的船。《人皮剌繡》印成封面膚色的文庫本，大小如手掌，拿在手上時有種一頁頁把自己翻開來看的奇異感覺，想起岸邊露伴的天堂之門。
韓安靜地把情感，或不過是人性裡不動聲色的惡意及重量，身與物在心的輕重之別，只不過是、就這樣地寫出來。文字誘發身體冒出各種內外積累下來的感，如夜潮般在無聲無息中把人包圍，看著看著，突然發覺臉上也是水。絕不是讓人舒服的情感，到了最後卻有淡淡溫柔的觸感。也許因為某些感與覺終於被顯影，身體裡的那些，有形狀、顏色、質感、重量，不過是當時沒擁有相應的語言，相對的距離。
各樣身體狀況及身體改造，顯影表相和內在難以言詮的關係，有人隨被要求的方式過活，有人無法掌握適從，自體制裡脫開。關係裡的重力及主體性，人和自己的關係，人和他人的關係，人和環境的關係，心與言的信任關係；文字意義浮動，隨個人解讀。 《空臉》中「我」不信任文字在表達人真正的想法，選擇與文字的含義保持著距離去作校對的工作，不願轉去編輯部。換臉以後，依然沒法以被要求的方式敘述自己。人所說的話，和想表達的，真正相信的，有著怎樣的距離？
無法被說出的話在身體裡積疊變形，無以觸及、無法相認。Body speaks first，body speaks at last.
“under the skin”
creative w/ @zili_chili @hungmc
photography @hungmc
words & styling @runwildrun
makeup & hair @zili_chili
photographer assistant @kwissac.04
model @lokisnotok @juniorbeasties_model
distance 02
@mings.hk Feb 2026
15 Mar 2026
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