09.01.2021 Views

Canto Cutie - Volume 2

Curated by Katherine Leung Edited by G and Tsz Kam Artist Features Annika Cheng | New York, USA Kaitlin Chan | Hong Kong Crystal Lee | Hong Kong Photography Jasmine Li | Boston, USA Nat Loos | Perth, Australia Cehryl | Hong Kong Artwork Winnie Chan | Hong Kong Marissa De Sandoli | Vancouver, Canada Jasmine Hui | Seattle, USA Irene Kwan| Houston, USA Karen Kar Yen Law | Toronto, Canada Ying Li | Melbourne, Australia Charlotte | Hong Kong saamsyu | Hong Kong Writing Arron Luo | Atlanta, USA Bianca Ng | New Jersey, USA Kristie Song | Irvine, USA Ruo Wei | Hong Kong Clovis Wong | Redmond, USA Poetry Raymond Chong | Sugarland, USA Karen Leong | Sydney, Australia KR

Curated by Katherine Leung

Edited by G and Tsz Kam

Artist Features
Annika Cheng | New York, USA
Kaitlin Chan | Hong Kong
Crystal Lee | Hong Kong

Photography
Jasmine Li | Boston, USA
Nat Loos | Perth, Australia
Cehryl | Hong Kong

Artwork
Winnie Chan | Hong Kong
Marissa De Sandoli | Vancouver, Canada
Jasmine Hui | Seattle, USA
Irene Kwan| Houston, USA
Karen Kar Yen Law | Toronto, Canada
Ying Li | Melbourne, Australia
Charlotte | Hong Kong
saamsyu | Hong Kong

Writing
Arron Luo | Atlanta, USA
Bianca Ng | New Jersey, USA
Kristie Song | Irvine, USA
Ruo Wei | Hong Kong
Clovis Wong | Redmond, USA

Poetry
Raymond Chong | Sugarland, USA
Karen Leong | Sydney, Australia
KR

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These miscellaneous objects stack upon each other, forming an extremely

unstable but irresistibly beautiful composition.

ANON climbs up some crackly old stairs and finds herself lost in the attics

overwhelmed with archival materials. Ancient weapons are neatly displayed

on walls whilst in the middle sits the most powerful of them all. Hundreds and

thousands of writings and drawings, each and every kind, all casting the same

spells and effects. ANON assumes that documenting this collection would take

a massive effort, though it only represents a small fraction of the historical

event that produced them.

Words and images— the most gentle yet powerful weapons ever created in this

world. Somehow a few anonymous bards had survived from the catastrophes

and were able to secretly record and preserve what they could. The prints

safely avoided weather stains, burning massacres, and countless instances of

censorship from the Eyes. They survived against all odds to tell the new

generation, people like ANON, stories of the Bible, the Catastrophes, the Dead

Sea, stories of the Fisheye and the Pearl of Orient, and stories of a mysterious

city that has been demolished and rebuilt. The forbidden city where ANON now

stands upon.

It mustn’t be exposed. Not until the time is right.

History is the best inheritance given by the ancestors, yet what is le! will

forever remain a secret in the shop’s hidden attic. ANON never knew these

dark ages of her city. She feels like she is reading some kind of surreal fictional

stories, or some stories from another parallel existence. The information goes

against what she has been previously taught. She isn’t sure who to believe

anymore. It is certainly an unsettling and strange feeling. As if she isn’t meant

to experience any of this. It’s a name that should not be mentioned, a beauty

that should not be obtained.

As ANON struggles to figure out what to do with the remains, a melancholic

melody starts playing as something else comes in from a mobile device stuck

on the wall.

Can anyone hear me?

... The end.

The formation of a pearl is highly sophisticated. It involves the acceptance of

a killing pain. Reluctantly, the body treats this pain with patience and

tolerance, wrapping up the irritant with layers of nacre, forming the most

unique and free-form of beauty you can ever find in this world.

Have you heard about it? A mythological Bird spotted in the region.

ANON inattentively pulled up her rod as she listened to the other fishermen

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