Michael Hui 許冠文
(POLAROID, 4x5 inch, colour, 1990)
In February 1990, Holly Lee photographed Michael Hui for the cover of the inaugural issue of Next Magazine.
1990年2月，黃楚喬為壹週刊創刊號封面拍攝的許冠文。
0015PL2SH Michael Hui 許冠文
0014PL2SKH Ka-sing and Holly 家昇與楚喬 (1985)
(POLAROID, 4x5 inch, colour, 1985)
Ka-sing and Holly, 1985. In Holly’s series My Friends, Artists, and Others, this photo might fall under the “Others” category. There is no negative for this image—only a unique Polaroid exists. A playful moment following a photography session, it evokes memories of an extraordinary era.
0013PL2SH Holly Lee self-portrait 黄楚喬自拍像 (1986)
(POLAROID, 4x5 inch, colour, 1986)
Holly Lee’s widely recognized series Pictures of Friends, Artists, and Others includes a self-portrait. Recently, we unearthed a Polaroid test shot of this self-portrait in our archives, taken on June 25, 1986. Within the negative storage box for this series, there are also two 4x5 black-and-white negatives, but they have never been printed—not even as contact prints.
0012PL2SK Chang Chao-tang and Antonio Mak 張照堂與麥顯揚 (1985)
(POLAROID, 3.25 x 3.25 inch, black and white, 1985. ©Lee Ka-sing)
In 1985, we took a trip to Taipei with Antonio Mak. We visited art museums together and had lunch at Ju Ming’s home. Naturally, we also made time to meet other old friends in Taiwan. I can’t quite recall where exactly we met with Chang Chao-tang, but the place had an ambiance very much like a Hong Kong-style cha chaan teng (diner). On this trip to Taiwan, I brought along a Polaroid 190.
1985年我們與麥顯揚有一趟台北之旅。我們一起看美術館，在朱銘家中吃午飯。當然，也少不了約會其他在台的老友。與張照堂在一起的是台北甚麼地方已記不起了，它的環境佈置倒很像香港的茶餐廳。這一次訪台之旅，我隨身帶了一具寶麗來190照相機。
0011PH2SH A Better Tomorrow 英雄本色
[ 續寫黃楚喬拍攝英雄本色海報 ] (1986)
最近我們策劃的 Edition K&H Archive，發行了這張英雄本色完成本照片。關於這張照片的拍攝，之前已經談過，最後是放棄了一鏡拍成的意願，而採取各人分別拍攝的方式。此外，我也按照草圖，拍攝了海港全景，當時的港岸線和今天的也很不同。照片再交回我們手上，是一張20乘30吋已拼貼好的著色黑白照片。再拍成4x5片作分色之用。當時我在攝影畫報寫的專欄，曾寫過這個工作個案，備存的4x5片，供他們使用後，不知在甚麼情況失掉。如今發行的，是據當時發表的印刷物而成的artifact。當草圖交到我們手上，美術指導也帶來一些寺山修司的書，說他設計這海報的意向。我們喜歡寺山修司的電影，當然也熟識寺山的風格。美術指導是電影公司屬下的美術部，從意願到如何說服更上的一層，當時來說還不是一件容易的事。說到寺山取向，我想海報還是止於黑白照片手著色層次的詩意。此外，各人冷漠的表情也是原來互相討論的要素。拼貼後著了色，連上港岸線，也可說是完成度頗高的照片。照片製成海報後，在右方的漸變粉紅色，及金屬立體字，也著實破壞了寺山取向的原意。在我記憶的印象中，插圖社(Illustration Workshop) 好像和這個個案有一點關係，雖然個案是直接與電影公司進行。今天重看當年在攝影畫報所寫的文稿，文中並無提及插圖社。我猜想插圖社可能是負責黑白照片著色的部分，在當時的環境，有此能力及感覺的人實在不多。及後，楚喬為插圖社郭立熹拍了林子祥的唱片，郭就是採用了黑白照片手著色的方式，而且，設計方面完整地展現了插圖社的優良風格。
0010PH2SKH A Better Tomorrow 英雄本色
黃楚喬拍攝英雄本色海報
英雄本色第一集和第二集的海報照片都是楚喬拍的。只是第二集的照片沒有像第一集的，人物型像活形活現。第二集的照片生活感很強，人物都是在移動的，在日光的環境下，她用較長的曝光時間，但又另外加上了閃光燈光源，所以在流動的影像中，又保留了清𥇦的潛像。第一集的照片，在拍攝之前已有一個很確定的草圖：狄龍，張國榮，周潤發三人的頭像要並排，等大的連在一起。在拍攝的前一晚，助手三人已按位子，拍了一幀寶麗來作試本。用中片幅相機，使用鏡頭是350mm。在拍攝照片的當日現場，楚喬在拍攝的當刻，我拍下這張記錄照。由於要求三人的頭部都要等樣大，最後大家決定放棄了直接使用一張照片去完成的意願。我們的影室長約三十來呎，為需要更大的透視壓縮，那需要從一個更長的距離拍攝，更要使用一支更長焦距的鏡頭。後來採取的方式是每人獨立拍攝，然後在製作時再拼合在一起，其實，這也是倜案交到我們手上時，和美術指導談過處理方案的底線。八十年代還是一個前數碼年代，在今天來說，操作方式也會很是不同。當然也會失卻了那艱辛的過程與樂趣。
0009CP2MK Christopher Doyle by Lee Ka-sing, SPUR MEN
1997) Christopher Doyle by Lee Ka-sing. Among the nine people featured in SPUR MEN, Doyle photographed the portraits of eight individuals, while the magazine commissioned me to photograph Doyle’s portrait. I requested Doyle to provide a self-portrait, then used my signature style to create an alternate version.
SPUR MEN 所介紹的九人，也包括了杜可風。其中八人之肖像由杜可風拍攝，雜誌委托我拍攝Doyle的肖像。我要求杜提供他本人的肖像，然後使用我一貫的圖像方式，作了一個進一步版本。
0008CP2MK Lee Ka-sing by Christopher Doyle, SPUR MEN
(1997) Lee Ka-sing by Christopher Doyle. May 1997, the Japanese magazine SPUR MEN published a special feature introducing nine active creators from Hong Kong. Each person’s portrait was taken by Christopher Doyle. I was one of the individuals featured. My portrait was taken at the Agfa Gallery in the Goethe-Institut, with a piece by Blues Wong in the background, displayed as part of an exhibition I curated.
0007PH2SK "New Images from Hong Kong" 「香港變奏 - 香港寫真之現在」
(May 1996) On the left is Patrick Lee, and on the right is Kotaro Iizawa. I am in the center, holding a CONTAX Tvs. 1996 in Yokohama, "New Images from Hong Kong", an exhibition curated by Kotaro Iizawa. Participating photographers included Karl Chiu, Almond Chu, Alfred Ko, Holly Lee, Lee Ka-sing, Patrick Lee, Yvonne Lo, and Ducky Tse. (May 31 to July 14, 1996, Tower Gallery, Yokohama, Japan) (dot-hong-kong footnotes, Lee Ka-sing, 2011).
0006CP2SH "Holly Wong’s Focus on Women Is Tops"
(Newspaper clipping from Nigel Cameron's art review column in the South China Morning Post, May 27, 1981)
Holly Wong’s renowned series “Pictures of Friends, Artists and Others” actually originated from a group exhibition held in 1981. When the newly opened World-Wide Plaza in Hong Kong hosted a joint exhibition titled Women of the World, ten photographers were invited to participate. This marked the beginning of Holly’s noted series. Her portraits included editor Chiang Yun, film director Ann Hui, performing artist Fan Guk Fa, poet Chung Ling-ling, and others. Later that same year, in June, she added portraits of Leung Kui Ting, Mak Siu Tong, Antonio Mak Hin Yeung, and others for a duo solo exhibition with Lee Ka Sing titled CAMERAWORKS, HOLLY & WINGO at the Hong Kong Arts Centre, bringing the total number of portraits to 23. In the World-Wide Plaza exhibition, participating photographers included Joseph Fung, Leong Ka Tai as well, and six other Western photographers who were active in Hong Kong at the time. The title of Nigel’s article seems to capture a double meaning in his review of the show. Lee and Wong were married in May of that year, with Holly initially using her maiden name for public appearances and gradually adopting the name “Holly Lee” after their marriage.
“Holly Wong’s focus on women is tops”
(剪報藏本，南華早報1981年5月27日，Nigel Cameron藝評專欄) 今天多為人知的黃楚喬「Pictures of Friends, Artists and Others」系列照片，拍攝原是起源於1981年的一個展覽。當時香港中區的環球商塲剛開幕，𨘋請了十位攝影師做一個聯合展覽，題目是：“Women of the World”。黃楚喬該系列照片便是從這裡開始，她拍了蔣芸，許鞍華，粉菊花，鍾玲玲等多人。後來在同年6月，在香港藝術中心的李家昇黃楚喬雙人個展，她又增拍了梁巨廷，麥兆棠，麥顯揚等。合共23張照片。之前在環球商場的展覽，10個參展攝影師，也包括馮漢杞，梁家泰等，其他六人為外藉。Nigel該評論文章之標題也可說是一語相關。李黃於該年5月結婚，之前的對外活動，楚喬均沿用舊姓。婚後逐漸開始使用Holly Lee為稱號。
(圖左上角之手寫與內文無關，也斯手跡也）
0005PU2LK In Memory of Leung Ping Kwan 念也斯
(Publication: VPUBLIC 萬象國 issue 20130307, 13x19 inches matte paper, archival inkjet, 2013)
In 2013, after the passing of Yesi, I created a work to commemorate him. The piece consisted of 27 small photographs, each mounted on a 2.5-inch square wooden block. Together, they formed a poem written with images. This work was exhibited in 2014 at the Fringe Club Gallery as part of a memorial exhibition for Yesi. Later, I gifted the piece to Betty for her collection as a keepsake, making it the only existing version of this work.
In one issue of VPUBLIC published in 2013, I featured this work, though it was presented only as images rather than as documentation of the actual piece. Subsequently, I translated this visual poem into Chinese text and published it in Hong Kong Literary in a special issue dedicated to commemorating Yesi (issue 2013-04).
也斯在2013年去世，我做了一個作品懷念他。27張小幅照片，分別各裱在2.5吋正方的木件上。是一首以照片寫成的詩。這個作品在2014年，一個紀念也斯的展覽，在藝穗會畫廊展出過。之後，我把這件作品送給吳煦斌收藏作紀念。這也是該件作品的唯一版本。2013年的「萬象國」其中一期，我發刊了這個作品，但只是稿本，而不是實物的記錄。後來，我又將這個圖本詩翻譯成為文本，發表在「香港文學」，一個悼念也斯的專號（2013-04）。詩為27行，收錄於此。
[念也斯]
城市在時間的盡頭
送別你的人都遠去了
那棵樹還在獨自唱它未完成的歌
想起你寫84年在我家中記憶投映在牆上
熒幕上留下你的笑容今天我從多倫多一個悼念你的紀念會回來
外面陽光夾著細碎飄雪
那天我泳罷回岸你還說有興趣我們來共寫東方的石
如今你如風景圈圈遠去
我沒有完成你浮世巴哈的封面成了夏日浮游零碎音符的散章
你還在續寫那1500千兆未完的小說嗎
我們讀著你縱橫交錯的詩
最後你的劍已經熟練得甚麼都可以隨手拈來
在除夕盤菜從一堆肉中翻出一片蘿蔔
你說的城市如今又添加更多亂碼
在我家後窗不時看見眾樹枝椏交錯著文字語言
對話也許如你寫二人壽司
山間樹群隨風共舞
你寫蓮葉連連
懊悔當年沒有與你共行法國南部看你重寫詩經
又想你腳踏的轉輪為何不可以慢緩下來路也傾斜也多碎石
三魚集後記你提到我送的三塊石頭
我說你挑選一張我新近的照片吧你卻獨有鍾情於這躍入遠古星河的姿勢
多謝你寫我們互相見證彼此生命的重要時刻
在食事地域我讀到你花鳥誌異新寫
一枚粉紅色螢光的蔬果在博物館入口處招手
我看見樹的身軀不斷沒入星際遼闊的熒光屏
想起你看著我手中這西漸的飛行物體笑說正合適你要新版西遊的寓言
2013.01
0004PU2LH Shan Hai Jing (Classic of Mountains and Seas)「山海經」系列
(Publication: VPUBLIC 萬象國 issue 20130416, 13x19 inches matte paper, archival inkjet, 2013)
In 2013, Holly collaborated with Fiona Smyth on a dual exhibition exploring the theme of Shan Hai Jing (Classic of Mountains and Seas). The publication VPUBLIC released two issues (20130309/ 20130312), each featuring works by both artists. Holly’s Shan Hai Jing series comprises 25 photographs taken over time. Eight of these were exhibited in the aforementioned show, displayed on tabletops. The photographs were presented upright, allowing viewers to observe them from both sides. Each pair of identical photographs, measuring 21.5 x 8 inches horizontally, was mounted back-to-back, pressed on both sides by two pieces of thick glass. The base was crafted from oak and aluminum.
2013年，楚喬與Fiona Smyth共同做了一個雙人展，探討「山海經」的主題。「萬象國」出版了兩期(20130309/ 20130312)，分別刊載兩人的作品。楚喬的「山海經」系列，前後拍攝了共25張照片，在上面提到的展覽，展出了八張，都是座枱式擺放。照片直立展示，可前後觀看。兩張相同的照片，各21.5 乘8 吋橫度，背靠背，前後均有一枚厚手玻璃壓著，底座以橡木及鋁片構成。
0003PU2LK TOMIO NITTO CAMERASHOP 日塔富夫相機店
(Publication: VPUBLIC 萬象國 issue 20130416, 13x19 inches matte paper, archival inkjet, 2013)
Tomio Nitto is skilled in watercolor. He never takes photographs; his sketchbook is his camera. One day, I asked him if he would be interested in painting portraits of my cameras. He agreed, and from then on, he often came to my gallery, sitting by the large windows, happily drawing my cameras of all sizes.
Later, he visited a Japanese friend who was a former professional photographer and stayed with him for several days, extensively sketching the cameras his friend had retired with. When I saw that he had painted over 50 cameras, I suggested holding an exhibition at the gallery. Taking it a step further after the show, we dedicated a corner of the gallery to exclusively display his camera works.
This was the beginning of TOMIO NITTO CAMERASHOP. The shop specializes in selling printed editions of his camera sketches.
Tomio Nitto 善水彩。他從來不拍照，速寫簿就是他的照相機。有天我問他可有興趣替我的照相機畫肖像，他首肯之後，打後的日子便不時在我的畫廊，大窗之旁，照相機大的小的，畫得不亦樂乎。之後他又探訪了一前職業攝影師日本朋友，並留宿數天，廣畫他退休後退居下來的照相機。我見他所畫照相機之數已達50，便建議他在畫廊做一個展覽。後來更進一步，在我畫廊近後的一方，闢一角用來專門展示他的照相機畫本。這便是「日塔富夫相機店」的起源。他的店專事售買相機畫本打印本。
0002PU2LK Tomio Nitto 日(sun) 塔(pagoda) 富(wealth) 夫(man)
(Publication: VPUBLIC 萬象國 issue 20130407, 13x19 inches matte paper, archival inkjet, 2013)
Tomio Nitto is an illustrator based in Toronto. He also creates personal artwork; last year (2023), we exhibited a series of more than 30 of his oil paintings. We’re good friends, and he is one of the happiest and most optimistic people we’ve met in Toronto. His name, when written in kanji, translates to “sun 日,” “pagoda 塔,” “wealth 富,” and “man 夫.” Over ten years ago, I created a piece based on these kanji characters of his name. It consists of four images mounted on four small wooden blocks, and it’s also part of my Mobile Poetry Lab series. I gifted the piece to him as a keepsake. Every time I visit his home, I see those four small photo works displayed on his desk. I think he must be quite fond of that piece.
In a 2013 issue of VPUBLIC 萬象國, I published this work, though what was featured was only the original images, not a photo documentation of the finished piece. I also published a four-line poem at the same time, which was a translation inspired by those four images and, naturally, infused with my subjective feelings and impressions of Tomio.
Tomio Nitto，居多倫多的插圖家。他也做個人創作，去年（2023）我們展出過他一組共30多張的油畫。我們是好友，他也是我們在多倫多遇上最快樂，和最樂觀的人。他的名字如果用漢字的寫法：日sun塔pagoda富wealth夫man。十多年前我用他的漢字名字做了一個作品，四個圖本，分別裱貼在四個小塊木件上。也算是我的游動詩寫室系列中的一件作品。是個作品我送予他自藏。每次我造訪他家，都看見該四個小圖木本，立放於他的案頭。大扺他也是很喜歡該件作品吧。在2013年的一期「萬象國」，我發刊了這件作品，不過所發刊的只是圖像原稿，而不是完成物的照片記錄。我又同時發刊了一首四行詩，是從該四個圖象所衍生出來的譯本，當然，文本也套入了我對Tomio的主觀感覺和印象。
去年夏日暖意還在游游漾漾
塔疊層層輪轉繞旋拔空而上
浮游起落移動豐盛泉湧心中
悠悠自得閙市喧嘩花開花落
0001PU2L VPUBLIC 萬象國
(Publication: VPUBLIC 萬象國 issue 20130410, Patrick Lee, 13x19 inches matte paper, archival inkjet, 2013)
In 2013, we published a periodical called VPUBLIC (萬象國), each issue measuring 13 x 19 inches and printed on a single sheet of paper, resembling a small poster. It was meticulously produced with inkjet printing to create an alternative collectible edition. The issue shown here features work by Patrick Lee, who was holding an exhibition at our gallery at the time. VPUBLIC primarily showcased works by Holly and me, but it also included pieces by other artists exhibiting at our gallery, such as Tomio Nitto and Fiona Smyth.
A selection from my MOBILE POETRY LAB series was published in this poster-zine, with some issues displayed in my solo show at Z Gallery in Hong Kong. VPUBLIC ran for just over ten issues, with a very limited print run.
2013年間我們出版過一份刊物「萬象國」(VPUBLIC)，13乘19吋，每期一張紙，猶如一張小幅的海報，以噴墨精緻打印，目的是建立一種另類的收藏本。這裡刊出的其中一期，是李志芳作品，當時他在我們的畫廊正著舉行著一個展覽。這個刊的出版物，其實是主要是刊載我和楚喬的作品，同時，也相關地，發刊了一些當時正在我們畫廊展出的其他藝術家。包括: Tomio Nitto, Fiona Smyth 等。在「萬象國」也曾有系統地刊載過我的「游動詩寫室」系列，部份曾經在香港「私畫廊」，我的個展期間展出過。「萬象國」只是出版十多期，而且流通量極少。
About Thousand Objects 關於千物誌
About Thousand Objects
In the autumn of 2024, anothermountainman paid us a visit. His primary purpose was to see Holly, but he also came to discuss the possibility of organizing a larger-scale exhibition for us in Hong Kong. One day, as we sat around the six-by-six-foot table brainstorming ideas, the concept of Thousand Objects (千物誌) suddenly flashed through my mind. I noticed Jessie quickly jotting down my point. In hindsight, this moment could mark the origin of Thousand Objects.
I have always placed emphasis on origins. As one journeys down a path, the ability to recall the starting point often provides insight into what lies ahead. Although the thought of Thousand Objects appeared spontaneous, it may have followed a traceable trajectory. In the spring of 2020, we organized an exhibition at our place titled DOUBLE DOUBLE: Box-in-a-Valise. Soon after, COVID struck, and the exhibition was barely made public. Fast forward to 2024, and the exhibition THE 50 GLADSTONE: Lee Ka-sing and Holly Lee Archive drew upon the earlier show as its blueprint. The concept of Thousand Objects clearly evolved from these two exhibitions.
For the DOUBLE DOUBLE exhibition, we intended to produce three books as a record:
The first book, subtitled on-site, contains a complete photographic documentation of the exhibition, with each work assigned a number.
The second book, close-cropped, features direct scans of selected original pieces, offering a closer approximation of the physical objects.
The third was envisioned as a text-based publication, providing written details for each item from the first book according to its number.
The third volume proved the most challenging. It was never fully completed, and the portions that were written were displayed only on the website.
For the second exhibition in spring 2024, learning from the first, we spent two months after setting up the display creating descriptions for the 200 items showcased. This time, we limited ourselves to media details and brief contextual notes. The resulting book was mainly for visitors to use as a cross-reference during the exhibition, with only a few copies printed.
We are confident that exhibitions resonate more with viewers when they can glimpse the stories behind each item, even briefly. This storytelling element became the foundation of the Thousand Objects concept, complementing the media descriptions for each piece.
In the first exhibition, items were displayed on walls and tables. In the second, due to the tables being reserved for other uses, we relied solely on wall space, excluding items requiring table displays. These experiences underscored the importance of aligning the nature of the objects with the mode of display.
Thousand Objects is envisioned as an organic concept for exhibitions. Its scale and content would vary depending on the venue. In a museum, the number of objects could expand significantly. In a library, the selection might be reduced or presented thematically. Beginning in 2025, we plan to organize monthly thematic micro-exhibitions in our space, utilizing the glass display table.
Reflecting on the past two shows, we found that showcase tables are particularly well-suited for displaying objects. I proposed to anothermountainman a bold idea: in a large exhibition hall, we could place a single line of display cases extending hundreds of feet, arranged in a straight line or a zigzag pattern. This would create a strong visual impact. Of course, Thousand Objects is not intended to replace traditional gallery-style exhibitions. These two formats function differently, akin to distinct modes of expression.
Thousand Objects might sit somewhere between a retrospective and a memoir. It lacks the breadth of the former but offers more intimacy than the latter. Alternatively, it could be described as "a house of retrospective stories." These objects encompass a wide range: original works, documents, artifacts, Polaroids, printed materials, tools, and memorabilia. Despite their diversity, their commonality lies in their ability to evoke stories that reflect our creative life over the past five decades—hence the importance of accompanying text.
In terms of writing style, I initially approached the text from a third-person perspective. However, I found that more personal stories required a shift to a more immersive, first-person voice. I began mixing voices depending on the context.
If I were to start the project today, writing one object a day, it would take three to four years to complete the thousand objects—and I assume there will be more to include along the way. However, we don’t need to finish all the stories to organize a show. We can always curate an exhibition based on what has already been written and the materials on hand. To facilitate better use by researchers or curators, I devised a serial system for the Thousand Objects project:
The first four digits represent the serial number of each item.
The next two characters denote the medium.
A single digit follows, reserved for internal use.
Another character indicates the item's size, categorized into four levels.
The final character, either K or H, denotes its association with me or Holly.
To conclude, I’d like to respond to a foreign friend’s question about why I chose “Thousand” rather than “Ten Thousand” (Wen). My answer is: “A thousand” signifies a vast number while remaining within the realm of the personal. “Ten Thousand Objects” (Wen Wu) suggests the totality of everything under heaven, which is far beyond my intention.
關於千物誌
2024年秋天，又一山人夫婦從遠道來訪。主要是來探望楚喬，另外的是探討在香港與他方為我們安排一個較大型展覽的可能性。一天我們圍坐在一方六乘六呎的大桌子作概念漫遊式傾談，我一時閃出千物誌(Thousand Objects)的想法。眼見Jessie怱怱把這點子記下，這該便是千物誌的起點了。我是個比較著重源頭論的人，路或行到途中，你若能夠呼喚出源頭，或許你可以瞭望出前方的一些端兒。話雖說是即興，其實是有著它的跡路可尋。2020年春天，我們在畫廊策劃了一個展覽「DOUBLE DOUBLE: Box-in-a-Valise」，跟著便來了COVIC，展覽其實沒有怎的公開。2024年我們又辦了另一個展覽：「THE 50 GLADSTONE: Lee Ka-sing and Holly Lee Archive」，以前面所說的展覽作為底本。千物誌的想法，便是從這兩個展覽發展出來
「DOUBLE DOUBLE: Box-in-a-Valise」展覽，我們打算做三冊書作為記錄。第一冊是現場所拍的全記錄照片，每件作品均設上編號；第二冊是部分展品的原件掃描，這樣較能展示出原物；第三冊是第一冊所展示的全場展品，逐一件的文字解說。這個是最困難的工序，終於沒有完全地完成，部分已寫出的，只放在網頁。第二回的展覽，在2024年春天舉行，這一回吸收了上一趟的經驗，展覽裝置完成後，花了兩個月時間，將 200件展品，每寫了一段媒體及相關說明。做了一本書，但只印了數冊，供給來看展覽的人，對號參看說明簡要。
這樣的展覽，假若每件展品都能夠讓觀者看到背後的故事，即使是簡略，也會趣味盎然。這也便是千物誌想法的起端。在媒體說明之外，或多或少，寫下一點背後的故事。
第一回的展覽，展品有的掛在牆，有的放在枱上；第二回的展覽，由於枱要留作別用，我們只用了牆的空間。有的只能放在枱的，就不作展出了。這兩趟經驗的綜合，也領我們體會到，物體屬性與展示方式的配合。
兩回的展覽都是在我們的地方舉行，所選擇展出物件的數量，也就因地方的面積而異。千物誌這個展覽是有機的，也即是說，展覽的大小及擺放方式都會隨著展埸而改變。要是展出於博物館，展品的數量就會倍增，要是展出於圖書館，展品數量可能減少，又甚至可以主題性構成。我們正計劃，自2025年開始，在我們的展覽空間，以玻璃展示枱的形式，每月做一趟主題性的小展覽。
綜合之前的兩次展覽，我們的結論是展示枱比較適合作為物件的展示平台。所以在那次傾談中，我建議館方在一個特大空間的展場，當中橫放一列數百呎長的展示枱，或成一字，或形蛇狀。展覽以千件物件構成。當然，千物誌是不可能代取以空間為重的畫廊式展覽。兩類展品性質不同，其間展覽之方式，其實是兩種不同的書寫文體。
千物誌，也許是介乎於回顧展及回憶錄之間。它沒有前者的宏觀，與後者的私密程度也不同。千物誌，也許還可以補充一個伸延說法：回顧錄。它提供了回看的意思，但卻略了物件的屬性。我們說物件，範圍也廣泛，包括原作，文件，相關物，寶麗來，印刷品，工具，甚至紀念物。 他們都有一個共通點，就是或大或小，都可以呼喚出一個故事。 也是這個原因，文字就顯得相關地重要。
開始撰寫文本的時候，我原意是想全部文字皆以第三身的寫法，不介入主觀情緒。後來寫至個別故事，又發覺單從這個角度，一些精彩片段會因此不能納入而流失。於是改變以混合的方式，但整體而言，還是以我為執筆人的方向。
要是平均每天寫一件物件，完成千物也得要三數年。況且，要寫的可能不只此數。 此外，我又為 千物誌的物件設計了一個編號系統， 以方便研究員，或策展人將來使用。前四位數字是序號，跟著的兩位表示媒體屬性，第三項單字留作將來使用，第四項單字表示物件的大小，第五項以K或H，展示該物與我或楚喬相關隸屬。
順答一位外國朋友問，為何千物誌而不稱萬物？千表示其數眾多，但仍屬私人之物。萬物即是天下之間所有物，不是我原之所意也。
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