Author's post:
A Pictorial Close-view Narration: WWII is in the details through miniature-making 另一種敘述法從小節看：立體模型場景特寫看二次大戰
Narrated battles are understood as causes and consequences. What would miniatures do? Highlighting history as vignettes and isolated scenarioas, they invite us to contemplate the gaps in between. 戰爭化為敘事往往強調了因果關係，手造的微型模型則更像小插畫，其真實性存活於小節和細工裡。
自討苦吃 I gave myself a difficult assignment...
In Toy as Media 3, Wai-leung Lai changes strategy though still sticking to his favorite subject matter -- the battles of WWII. Surprise discovery: the hierarchy of events by significance could be mis-leading. How else to understand history? 《玩具媒介3》Toy as Media 第三集，黎偉亮的參展作品仍不離二戰軍事模型。因視力衰退老花加深，他將舊製作拍成照片加上新的註解，過程中卻無意地發現了一條隱隱約約的戰爭時間線，興起了說說這一段歷史的念頭。
談「縫補歲月」，冀「歷史毋忘」On the Mending Years, and How to Fill in the Gaps of History
How not to forget history? Wai-leung Lai turns to the concrete contribution of an object-based approach in installation art, following up on his last piece on the show Mending Years to assert the place of the non-expert in completing an art event as a form of social commemoration. 據點作者黎偉亮要求「歷史毋忘」要具體，也許在以「物」為軸的場域特定展覽《縫補歲月》中，他找到了裝置藝術所盛載的一點貢獻。
看「縫補歲月」，聽歲月留聲 Mending Years, fleeting sounds
FP writer Wai-leung Lai visited group "Mending Years" as sounds from the past collaged to invoke contradicting thoughts about the 1960s and 1970s. Is there a single reading of the past? He starts with Linda Lai's "Domestic Moonlighting," Wong Kar-wai's films and more. 「據點」作者黎偉亮徐步於「縫補歲月」的五人展場中，聲頻片段拼貼湊合的氛圍喚起的是矛盾不一的記憶與論述。到底上世紀六七十年代是怎樣的？真能客觀定斷嗎？先由黎肖嫻的《家居副業》和王家衛等說起。
乾女兒的女兒 Goddaughter's daughter
新生代的來臨該衷心祝福吧。此時此刻，送上最好的願望。The arrival of a new life itself deserves whole-hearted celebrations...
Wai-leung Lai / 與林建才閒談他的插畫路 And so we chatted, Kin-choi Lam and illustration art
FP writer Wai-leung Lai was there as Kin-choi Lam set up his book launch event at FP, and started to traced his journey as an illustration-artist. 從業餘興趣成為終身志業，由摸索學習到邁步向前。貧瘠的藝術土壤上，一個青年畫家的成長歷程，據點作者黎偉亮用文字素描了一個他認識的林建才和他獨有的故事。
乾女兒 Goddaughter
人的一生從呱呱墜地開始，長大後會變成怎樣，誰也說不準。平凡人往往有不平凡的一面 …。 “What would become of me?” One could only wait to be surprised, FP writer Wai-leung Lai writes.
總在你身邊 (十)：明日的回憶 Just Around You 10: Remembrance of Tomorrow
Speaking through faint old objects, FP Manager/writer Wai-leung Lai re-experienced his past as a precarious future as he packed up the public estate flat where he grew up. 與母親收拾細軟之際，據點作者黎偉亮鑽進這個她守望了半個世紀的公屋小宅，順道借舊物說說往事一二，比比今昔。從昏黃細物中，他看見了似近實遠、隱而即現的「未來」。
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。
LAI Wai-leung / 不是影評。從光華迸發到日暮星沉，由舊戲「英雄本色」說起 A Better Tomorrow and beyond, not a film review
In an extended roll call of local made movies, FP writer Wai-leung Lai tells an integrated story of his history of local film viewing, an assertion of the right of a serious non-expert viewer’s voice to be heard. After, popular cinema is a specific way to connect with the ordinary people on the level of living. And after all, Readership Theories have covered much ground in film and media studies in the past 30 something years in the academia. 黎偉亮一個人睇戲的故事，追述多年來看港產片的心跡，說明了用心看戲也就是用心活著。一個用心的觀眾絕對有權在「影評」的建制圈外肯定表述的聲音。
