Monday, December 28, 2020

Thinking about convalescence

I am reading up on convalescent homes in Victorian England and appropriating its concept of extended recuperation time for where we are now, the end of 2020, when what we all need is a good dose of escapism from what has been a harrowing year. I admittedly have been avoiding writing in my diary all year because expressing my inner self is too scary; I'm afraid to read about my depression, my struggles with staying motivated, my listlessness, my privileged adventures throughout Europe, without retching at the complete lack of control I've demonstrated in the last few months. But then, most diary entries reveal this about myself. So what about this year makes it all too hard to see reflected on a page?

I really don't need to tell you how shit of a year it's been. And that's sort of where I'm coming from. Inner reflection is hard and it takes time and honesty to write. Time and honesty, those are hard to come by sometimes. And while there are endless benefits to mindfulness and self-awareness, I am just too tired to exercise my mind, even for the sake of myself. But showing up to my blog in the last week of 2020 is perhaps the most simpering act. If I write down all my feelings *now*, will it make up for my complete mishandling of the last year? 

Probably not. And where would I begin? Lots of questions, lots of time. But this is all I've got! 



Books in 2020

January: Neverwhere, Neil Gaiman
February: Little Women Part I, Louisa May Alcott
March: Little Women Part II, Louisa May Alcott
April: The Traveling Cat Chronicles, Hiro Arikawa; Parrotfish, Ellen Wittlinger; Pasquele's Nose, Michael Rips
May: Braised Pork, An Yu
June: Sex and World Peace, Valerie Hudson; Olive Kitteridge, Elizabeth Strout; The Art of Her Deal, Mary Jordan
July: How to Get Married, The School of Life
August: Too Much and Never Enough, Mary Trump; Fair Play, Eve Rodsky; Sex and Vanity, Kevin Kwan
September: NA
October: Untamed, Glennon Doyle
November: None! I read 20% of RGG's collection of speeches but have absolutely had it with reading off a Kindle. 
December: The Vanishing Half, Brit Bennett

Ongoing: 
The Table Comes First, Adam Gopnik
How to Eat, Nigella Lawson
Cook, Eat, Repeat, Nigella Lawson
To Read:
Olive, Again, Elizabeth Strout
TBD

Monday, December 14, 2020

Homelessness in Seattle

 Driving around the other day, I was quite depressed by the number of homeless people I saw on the streets of Seattle. In a city with so much wealth (not to mention income disparity), it is beyond saddening that this is the reality we all have to live in. Today, I came across this blog run by one homeless man named Joe Bernstein. 

https://myseattleparksdiary.blogspot.com/

A very intriguing read and I encourage you to pay his site a visit. 

Wednesday, August 19, 2020

Particularities for Casual Living

J Press
Classic shaggy dog sweaters.

Drake's
Scarves and shirts that also work for women.

Tartan Tweeds
Best wool blanket for picnics.

Dale of Norway

Wool jackets for skiing and lounging about.

James Smith & Sons Umbrellas
Not worth carrying anything else.

Pedemeia
Colorful, consistent socks from Portugal.

Nanami Seven Seas Writer
Everyday, unlined notebook, thin pages, lasts forever.

Tretorn
Classic white sneakers, never on trend.

Prose
Customizable shampoo because your hair needs it. 

Jono Pandolfi
Ceramic plates for at home. 

La Perla
Splurging on one or three sets will do you no wrong. 

Three J NYC
If you can't afford Olivia van Halle, these will do plenty fine. 

Uniqlo
Perfect for everyday cotton white t-shirts.

Saint James
Heavy cotton striped tees in blue and red. 

Brown Betty
For no-spill tea time.

Chantal
Stove top kettle. 

Imperial Porcelain, Russia
What else are you going to bring back from Russia?

Zojirushi
Best rice cooker, best thermal flask.


Kusmi Tea
Lovely bergamot in the Anastasia or Prince Vladimir blends. 

Yorkshire Gold
Everyday English Breakfast. 


Bric
Italian alternative to Rimowa.

Masunaga
Spectacles. On the expensive side but lasts forever and also looks better than Oliver Peoples.

Muhlbauer
Beautiful Austrian hats. 

Jo Loves
The lady herself still concocts these bold perfumes. 


Stubbs and Woolton
Velvet loafers. Not nearly as fussy as Belgian Shoes, which require you to wear them in and return them to get soled.

Mimbreria Vidal
Woven baskets from Mallorca. 

La Manual Alpargatera
Espadrilles in Barcelona. Cheap and classic. 

Castaner
Mallorcan espadrilles. The more expensive cousin.

Vicens
Ikat placemats. 

Mason Pearson Pocket Bristle
A hair brush... costs a fortune but so does your hair. And it lasts forever.

A La Maison
Traditional French sea salt deodorant. No aluminum, you still sweat but you don't smell. 

Smythson
Tiny diary.

Lele Sadoughi
Hairbands and clips. 

Golightly Cashmere
The only cashmere scarf you'll need. Machine washable, too.

RM Williams
Chelsea black boots that last an eternity.

Manduka
Yoga mat. 

Lululemon
Align biker shorts. Align tights. Socks. Everything else has worthy competitors.

Barbour
Has so many pockets, and water proof. 

Manolo Blahnik
No need to look at other shoe programs if you commit to them. 

Saturday, June 20, 2020

Today in London

I'm sitting in a borrowed flat in Islington. The rent is USD1200, and we are here for the primary reason of living together. And, of course, establishing humane work hours for my job still based in Seattle. It is Saturday night on midsummer, which means it is not only bright out, but also a celebratory day for many in Europe. This year's midsummer must be particularly celebratory for everyone, as Britain entered the Level 4 health warning over the weekend, which is actually a good thing, all things considered. 

Today we went to Clissold Park, sitting on a new wool blanket purchased for the exact purpose of sitting on grass all over Europe. I purchased it on Amazon from a tweed maker in Scotland...which is the kind of thing you can do in Europe. When I am sitting in a park surrounded by dogs, pliant grass, spires from a nearby church, and an old Victorian home now repurposed as a park cafe, I have to wonder, why do I even bother with America? I left in 2012 after a year's stint in Paris elapsed. That might have been a mistake. (But then I wouldn't have met New York!)

Not to mention we were drinking rosé out of plastic cups, and also a burger, fries and cookies, those were present. Can't veer too far from my American palate honed from the last 8 years, I guess. Living in Islington is new for me, as I often exist in London byway of the benevolence of my mother's family, which lends me a flat at no cost in the heart of London, Mayfair. I like the Mayfair flat, it is surrounded by office buildings that are none too occupied, and also the Playboy Tail Bar, which is a fantastic place to walk by at night. Once, returning from dinner, I witnessed the bum of a bunny smashed up against the sides of a larger-than-life champagne glass. This is the kind of thing you can witness when you walk by the Tail Bar at night. I wonder if our building's doormen take their smoke break right outside the Tail Bar. It's not exactly perverse as they have a reason to be there, seeing as their job is around the corner.

Now I live in Islington, which is north of London and infinitely more livable. For starters, we spent USD900 last week living it up in Mayfair, as in buying cornichons and clotted cream from Fortnums no less. And of course ordered-in divine crab meat pasta from Olivo, because I do not live in London and I believe religiously that I am supposed to treat myself when living in proximity to the restaurant. This week we spent not more than USD500 between two people. Which is significantly under our Mayfair expenses. Although I have to wonder what on earth we are buying, because I spend so much less than that when living in America. I have to conclude that I am enjoying myself a little too much. 

Now where I live, everyday I am graced by the presence of a grubbed up mongrel cat. She is a mixture of orange, black, and sooty-white. She jumps onto the sills of the bay window facing the street and watches a black cat that presides the bay window next over. She doesn't like looking at me and has no interest in interacting. But yet we co-exist and she is delighted to continue ignoring me every day. I in turn love cooing at her through the window, because it is the closest thing I have to owning a pet. Her eyes hint at a beautiful emerald green, but she continues to squint at me because she likes to keep me hoping.

Down the street is Highbury Road, which is the main drag and filled with wonderful shops like the Italian bodega Da Mario, and Israeli cafe Highness Tea, and of course the butcher and fishmonger, which are both incredibly hip despite the reliquary nature of their narrow trades. I am not an adventurous home cook and so I only buy sausages and salmon respectively. But both the sausages and salmon are delicious, and I can only imagine other cuts of meat or fish being even more delectable. We have been eating well, as my wallet shows.

A lot has happened the last few weeks. It is ridiculous to consider in total the apocalyptic nature of news we have subjected ourselves to. It ranges from the abominable oil spill in Russia, to Hana Kimura's death, to the Black Lives Matter movement finally taking international hold, to sickening stories of police brutality, to Trump's immigration bans, and of course to Covid. But today, this lazy Saturday, as I listen to Stan Getz on repeat, with the promise of my mongrel cat returning tomorrow morning, the world is perfect. 

Sunday, May 3, 2020

We're all grieving but there is some light at the end of the tunnel

These days, every article on Covid 19 cannot help but include a commentary on how we are adapting to change. Change is hard for everyone; some cannot help but be depressed, others choose to lean into their grief as a form of self-care, and others choose to see the bright side. Like most people, I experience the troughs and peaks of this period in a single day. I wake up depressed, but by mid-day I am thankful for what I have. By night time, I am in despair about anything from my living situation, to productivity, to Trump's immigration ban, to my inability to commit to an exercise schedule. Even though we know harmful thoughts are self-inflicted, we continue to be so hard on ourselves.

Like most people, I have reflected on what has changed, what will change, and what remains constant. Like most people, I find it overwhelming. And, like most people, I need to share my thoughts because writing them down and publishing is today's version of catharsis.

At the macro level, the food economy will look increasingly domestic. For sustenance reasons, what can't be grown within a country will find a way. Be it through labs, industrial greenhouses, hydroponics, or newly established supply chains within the region. In Singapore, this might look like an increasing reliance on local startups to scale hydroponic systems built atop housing blocks and public garages. Italian restaurants may need to work with local labs to grow sweet and succulent tomatoes instead of flying in datterino's from the south of Italy. Cocktail bars may look to their surroundings for inspiration, like using pandan or belimbing as star ingredients, instead of replicating 'classics' born from an occidental past. I will likely mourn the lack of cosmopolitanism because of closed borders, but I will also celebrate the ingenuity forced by a limitation on circumstances. The future of cuisines and restaurants will be intriguing spaces to watch.

Xenophobia will loom larger. When Trump was first elected to office in 2017, I remember going to a bar on the Upper East Side and being verbally accosted by a drunk elderly woman: "go back to your own country!" How original. The cowardly bartender, who I am confident overheard her shouting, did not throw her out. I guess he didn't throw me out either. But this virulent behavior has since been given the space to fester. When we close off our national borders, we close off our minds, too. People remain comfortable with what they know. They shun difference and grow intolerance to unknowns. This nation-centric attitude will be the next humanitarian crisis. Potentially, the makings of the third world war. Already, we see cases of violence against ethnically Chinese students in international cities like London and Melbourne. Because of skyrocketing unemployment rates, angry rhetoric, goaded on by POTUS, suggests immigrants are taking the precious jobs of skilled Americans. Immigrants, like myself, can no longer work and live safely in the US. The silver lining to this? Perhaps, the evolution of jobs to suit local skillsets. Perhaps, a GDP adjustment to what can be realistically earned at home. Perhaps, then, stable currency, reasonable tuition fees and attainable home valuations. But when we put our tribes before common ground, history has shown the implications promise to be stunningly disastrous.

Closer to the heart, friendships will take a hit. Living digitally means that in-person friendships will need to convert to long-distance formats. If a friend cannot put in the time and communication needed for the friendship to survive, it won't. The reality is, some people cannot look past their own noses to be a friend. Narcissism and selfishness, once passable in-person, is no longer acceptable when distractions, tone and touch are missing. You'll quickly weed those friendships out. Friend or family dynamics once ignored are now impossibly obvious when taken online. These realizations may hurt you, but they also develop in you a reassuring sense of where to put your effort. Happily, there are several friends that will prove themselves to be lifelong companions. These friends, you can be sure, are invested in caring for you and loving you through the ages.

Food; globalism; family and friends. These have been on my mind lately, as they often are, even before Covid 19. What remains the same appears to be my obsession with contenting myself through my stomach, place and relationships. What I grieve the most is also what makes me the happiest. So while Covid 19 has taken away my lifestyle, changed where I live and work, and forcibly streamlined my friends, it's also made apparent what I innately value and what I consider worth fighting for. Clarity. Now that is a happy thought. 

Thursday, April 9, 2020

Reflections on my 29th Birthday

As I spend my birthday in lockdown, I am reading on my great grandmother Tan Cheng Hiong, who was a capital bad ass:
https://en.wikipedia.org/wiki/Tan_Cheng_Hiong
https://www.swhf.sg/profiles/tan-cheng-hiong/

I can only hope to do as meaningful work as she did in my lifetime. 

Monday, March 9, 2020

Singaporean H1B1 For Employers and Employees. What's the Process, Timeline and Cost?


The H1B1 (Singapore) visa is a treaty visa between the U.S. and Singapore, quite like the current arrangement between the U.S. and Canada or the U.S. and Australia.

Like Canadian and Australian work visas, the H1B1 (Singapore) visa process is nowhere near as expensive or drawn out as the H1B (other countries), which most employers and lawyers are familiar with and loathe. Yet, many employers and lawyers conflate the distinct visa groups because of their similar names.

For context, the H1B (other countries) is a visa lottery system for countries that do not have visa treaty ties with the U.S., such as China, India, the United Kingdom, Germany, Russia, France, or Africa. Because there are multiple workers from multiple countries grouped into a limited H1B (other countries) pool, the H1B (other countries) pool is incredibly saturated. H1Bs (other countries) are therefore costly and can take anywhere from 1 to 9 months to process. U.S. employers, particularly smaller firms, decide against hiring non-U.S. citizens for these reasons.

In this short article, I hope to illuminate how the H1B1 (Singapore) process is simpler, cheaper, and quicker for U.S. employers hiring Singaporean employees.

Please note that the process I'm detailing focuses on the consular processing route. This means that the Singaporean employee goes to the U.S. embassy in Singapore to complete the process instead of the U.S. employer filing the visa while the Singaporean employee remains in the U.S. The main difference is I won't discuss the I-129 form.

PROCESS FOR U.S. EMPLOYERS

Timeline: 2-3 weeks, or 10 to 15 business days

Visa fee: $1250 or $2000. The cost includes a $500 fraud detection fee, and a $750 or $1500 American Competitiveness and Workforce Improvement Act Fee. Companies with less than 26 employees pay $750 while companies with equal to or more than 26 employees pay $1500. I don't make the rules.

Legal fee: $0 to $3000. The legal fee depends on if you file the LCA yourself or chose to work with an immigration lawyer. Previously, lawyers have quoted me as low as $900 and as high as $3000.

Steps:
  1. Make a standard job offer. This means offering a salary and benefits you would typically extend to U.S. citizens. 
  2. File the Labor Condition Application aka Certified ETA 9035. Annotate the application as a H1B1 (Singapore). If you chose to use a lawyer, he will fill out this form for you.
  3. The LCA will be approved by the UCSIS in 5 to 10 business days. Once you have the LCA, sign the last page and then send a copy to your Singaporean employee. Your part of the process is done!

Notes:

If a lawyer advises you to file the I-129 form, please know that this form is only relevant for the H1B (other countries) not the H1B1 (Singapore). You only need to file a I-129 if your Singaporean employee is in the U.S. and remains there while his visa is processing. If the Singaporean employee uses consular processing, there is no need to file a I-129. Simply put, if your Singaporean employee is outside of the country while you are filing his visa, then disregard the I-129 entirely. 

The H1B1 (Singapore) is ineligible for premium processing. Do not pay this fee. This is because the H1B1 (Singapore) is not part of the H1B (other countries) lottery. The quota system used to grant H1B1s (Singapore) has historically never depleted itself. Therefore processing for a H1B1 (Singapore) takes a fraction of the time needed to process a H1B (other countries) application. 


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CONSULATE PROCESS FOR SINGAPOREAN EMPLOYEES

Below is a brief insight into the consulate process for Singaporean employees. I have not detailed the process as thoroughly as I have for U.S. employers because there are excellent resources available on the internet. See here and here.

Timeline: 3 to 10 business days, depending on when you get your embassy appointment

Cost of visa processing: US$190 paid at Singpost or Standard Chartered

Legal fee: $0

Steps:
  1. Pay your visa fee of US$190 at Singpost or Standard Chartered. It takes 1 day for the post office or bank to process your payment. 
  2. Complete your DS-160 form. This may take you 1 to 2 hours. 
  3. Book your embassy appointment. You may need to wait a few days or a week to get your appointment.
  4. Get your signed LCA from your employer. You can complete steps 1 to 3 without the LCA, but you must have the LCA for your embassy interview.
  5. Once you pass your embassy interview, the embassy will take your passport and affix the visa sticker. It takes about 3 working days to return your passport to you. With passport in hand, you can now fly to the U.S.

I hope this article is helpful for U.S. employers hiring Singaporean employees. Please note I am not a lawyer and I cannot give legal advice. I have only been through the H1B1 (Singapore) process myself three times now (2015-2019) and wanted to share my experience with successfully filing the H1B1 (Singapore) visa.

If you have questions, or would like a lawyer referral, please let me know by leaving a comment.


Tuesday, February 11, 2020

How the art world works

Though I have taken a break from the art world, I am still excited by its economics. Based on my time at an arts PR firm, Christie's, The Met, and an online art gallery, I have put together some of my observations about the many overlapping exchanges between market actors.

These observations may not hold true in international markets. (the US market is much smaller than Europe, and there are cultural differences that impact dynamics in foreign markets, for example I am ignoring the exchange of jewelry, watches and wine, which are superior "art" commodities in Asia, these come with their own unique set of considerations)

Artist

Alive, unrepresented: An unrepresented artist will likely be found on Instagram, and conducts sales over social media or on his personal website. Selling without gallery representation means the artist does not have the marketing budget to promote his work but, on the flip side, will earn 100% of margins.

Alive, with gallery representation: The artist now shares profit with his gallery. Depending on the prestige of the artist and gallery, the percentages will vary. Sometimes galleries take up to 60% and sometimes as little as 10%. A gallery is largely responsible for the health of an artist's career.

Dead, with gallery representation: The gallery, together with the artist's estate, controls the supply of work. Since supply is finite, one major role of the gallery is to ensure that the value of the artist never drops. This means controlling the consumption of work by clients, secondary galleries, and auction houses; directing the provenance of a work; or partnering with museums to boost the profile of the artist through group exhibitions and retrospectives. 

Gallery

Primary: A primary gallery puts never-before-seen work on the market. This could either be new work from a living artist or a newly discovered work by a dead artist. The sell price is determined by multiple factors, for example the size and medium of the work, or provenance and sales record of an artist.

Secondary: A secondary gallery sells work already in circulation. Often, the goal of selling in the secondary market is to achieve the highest price possible. Selling at a low price point is damaging for the artist and his gallery. An artist's value goes up if his works do well on the secondary market, even though he does not receive direct payment from resale of his work.

Client: A client working with a gallery is sometimes given preferential treatment depending on his relationship to the gallery. If I were a repeat client of PACE, then PACE might give me a special price for an artist I love, or a heads up if the artist is represented at an upcoming art fair. Separately, if I had a poor taste and an unrefined collection, PACE may decide against selling to me for fear of dirtying the provenance of the work, by association. 

Auction

Artist: Similar to fashion consignment shops, competing auction houses vie for a work (or sometimes an entire estate) often by proposing competitive marketing campaigns or favorable consignment fees.

Sometimes, an artist may work directly with an auction house, but this is in very rare cases. I suspect it is more common for online auction houses, like Paddle8 or 1stdibs.

Gallery: It is incredibly rare that a primary gallery or artist works directly with an auction house. Instead, the auction house typically dominates the secondary art market. Interestingly, galleries sometimes buy up work by their artists to stabilize the market price.

Museum: Even though museums are nonprofits and they often acquire through donations and gifts, museums also have a budget to purchase directly from auction.

Clients: Auction houses keep close watch of their clients. The who's who of clients get to attend evening auctions, which are private and invite-only. Within their databases, auction houses often track collector wealth, lineage, deaths, and collecting events. It behooves a museum to play nice with prominent collectors and their families, because that may lead to a huge consignment in the future.

The identity of a client making an outrageous purchase is often kept anonymous by the auction house. His identity is revealed when the newly acquired work is loaned or bequeathed to a museum. 

Museum

Artist: Group exhibitions are great, solo exhibitions and retrospectives are better. Both living and dead artists can raise the current valuation of circulating works because of representation by a museum.

Gallery: Similar to the impact on artists, galleries also benefit from its artist featuring in a museum show.

Galleries now compete with museum's to hold curated artist shows. An emerging artist may receive a solo exhibition at Guggenheim but not yet be worthy of a solo exhibition at the Met. However, confidence from the artist's gallery may be enough to drive inflated sales.

Donors: Donors can bequeath gifts to help alleviate tax on their descendants. Since they control a large portion of supply, donors have huge sway over the purchasing decisions and curatorial direction of the museum. A donor may also directly hype the value of his living collection by lending related works out to the museum. Public appreciation for a donor's collection positions him favorably in the eyes of galleries and auction houses.

Public: Art is both a public good and a vehicle for conspicuous consumption. However, art is now less of a public good as museums increasingly charge prohibitive costs.

Art Fair

Gallery: Galleries pay sometimes more than $30,000 to participate in a fair, so there is a high barrier to entry for a small to mid-sized gallery. There are multiple preview days; often, the art is sold before the fair is open to the public. Art fairs range from outsider art, to contemporary art, to antiquities and books.

Clients: Clients work directly with galleries to make purchases. If a client is preferred by a gallery, he may be invited to purchase a work before it is viewed by the public.

Public: Attend to see and be seen. I have rarely seen someone from the public walk into a booth and buy on site. Although this could happen at an outsider art fair. 

Critic

Artist: At the NYTimes, there are only maybe 3-4 on-staff critics that hold great sway. A positive review can boost the profile of a young artist, possibly helping them achieve gallery representation.

Gallery: Good press for a gallery indicates that it is doing something right to preserve the dignity and memory of an artist's creative spirit. I personally can't imagine a critic giving a gallery a good review for purely positioning the artist as a hot commodity.

Museum: Good press for an artist show improves the value and reputation of an artist and his gallery, as well as says something about the curatorial chops of the museum. Good press also means more visitor traffic, which is more ticketing revenue for the museum. (ticketing revenue incidentally ranks very low in terms of overall profit)

Art fair: It seems that good press for an art show means that the art fair went to great lengths to obfuscate the fact that it is a glorified trade show...

Storage

Clients: For clients who consider art more of a commodity than an item to enjoy. It is also one of the quickest ways to trade art. Through a gallery, auction house or private sale, buyer and seller can make an exchange without the art leaving the warehouse. 

Investment Fund

Clients: An art fund is for investors that go in on a collection together so that they may reap profits upon resale. In this model, art is purely a commodity.

Often banks have their own art corporate responsibility program. I believe these are disguises for strategic art investment funds. 

Trading Algorithm 

Clients: An algorithm determines the value of an artist and artwork by quantifying intangible factors. By following the art index, collectors can forecast and place their bets on an emerging artist instead of spending more money on the secondary market. Oppositely, collectors can liquidate declining assets and break even before their assets depreciate further.

~

I have been far removed from the art world for a number of years now, so I'm sure that interactions between actors have only become more complicated. I'd love to know about your own experience if you have something unique to add.

P.S. If you are into infographic design, I'm dying to these interactions mapped out. Please hit me up so we can collaborate.