{"id":8475,"date":"2017-09-20T16:40:17","date_gmt":"2017-09-20T20:40:17","guid":{"rendered":"https:\/\/library.ryerson.ca\/asianheritage\/?page_id=8475"},"modified":"2021-09-11T23:40:52","modified_gmt":"2021-09-12T03:40:52","slug":"stanford-cheung","status":"publish","type":"page","link":"https:\/\/library.torontomu.ca\/asianheritage\/authors\/stanford-cheung\/","title":{"rendered":"Stanford Cheung"},"content":{"rendered":"\n
\n
<\/div>\n\n\n\n
\n

Stanford Cheung is a concert pianist, intermedia poet, and sound artist from Toronto who maintains an active international performing career throughout North America, the UK, Canada and Asia. A versatile collaborator, Stanford has worked with artists including Morgan Fisher, Steven SJ Fowler, Scott Hunter, Vidhu Aggarwal, Nobuo Kubota, Marc di Saverio, Jordan A.Y Smith among others. Among his cross-disciplinary literary creations include\u00a0SONICFOLIO<\/em> (The Operating System, forthcoming), The Bing<\/em>\u00a0(University of Edinburgh College of Art, 2021),\u00a0We Could Be Anything<\/em>\u00a0(Crevasse Books, 2019),\u00a0Comfort of Malice<\/em>\u00a0(Inspiritus, 2018), and\u00a0Any Seam or Needlework<\/em>\u00a0(The Operating System, 2016). His work appears in anthologies and journals such as\u00a0The Tokyo Poetry Journal<\/em>, Nomadic Journal<\/em>, Ricepaper<\/em>, The Underwater Railroad<\/em>\u00a0and elsewhere. Stanford is presently a Doctoral student studying music performance at the McGill University\u2019s Schulich School of Music where his research dissertation is \u201cWabi-sabi Behind the Scenes in Ryuichi Sakamoto\u2019s\u00a0Async.\u201d<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\n
\"\"<\/figure><\/div>\n<\/div>\n\n\n\n
\n

Poetry (Chapbook)<\/h2>\n\n\n\n

Any Seam or Needlework<\/h2>\n\n\n\n

Brooklyn, NY: Operating System, 2016.
Cover art: Quilt Drawing #12 by Daphne Taylor.
(Chapbook Series 2016: Of Sound Mind)<\/p>\n\n\n\n

Publisher’s Synopsis<\/h4>\n\n\n\n

Inspired from the folk tune of the English ballad “Scarborough Fair,” where the third line of the stanza adopts the title of the collection, “Any Seam or Needlework” burns fiercely on a canvas to be nothing, yet nothing to be everything. Similar to a bronze gramophone record stuck on replay, each typographic confession sings naked on the podium for more unknown dissections. Though the first glance onto the page may be subtle with their canon at play, we begin to form a literary study on the relationships between the poet’s conscience and the mentality of the poem itself. Some say it’s as if the whole sentence becomes alive with each glance, or what’s worse, an ode to phonetic cult.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\n
\"\"<\/figure><\/div>\n<\/div>\n\n\n\n
\n

Poetry (Chapbook)<\/h2>\n\n\n\n

Comfort of Malice<\/h2>\n\n\n\n

Toronto: Inspiritus Press, 2018.<\/p>\n\n\n\n

Publisher’s Synopsis (From its website)<\/h4>\n\n\n\n

Comfort of Malice<\/em> engages with the process of documenting in the evening fields of Bamburgh Park attuned to the sounds of fairgrounds, transmission towers and other curiosities of an environment in migration. Accompanied by JC Bouchard\u2019s photography is a multi-modal experience of the beautiful in conflict with the gritty, a notation against landscape.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
<\/div>\n\n\n\n
\n

Poetry<\/h2>\n\n\n\n

Demonstrator<\/h2>\n\n\n\n

Toronto: Andata Express, 2020.<\/p>\n\n\n\n

Publisher’s Synopsis (From its website)<\/h4>\n\n\n\n

Stanford Cheung\u2019s newly awaited full-length collection Demonstrator<\/em> turns to the cities of Fukuoka to draw inspiration from an imagined \u201cinstallation society.\u201d Among the actors around him: commuters, skyscrapers, pachinko machines, strangers and lovers, which form his personal yet socially narrative arc. What results is a sublime artistic range in Cheung\u2019s never-ending quest to uncover noises, sounds and rhythms never heard.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\n
\"\"<\/figure><\/div>\n<\/div>\n\n\n\n
\n

Poetry (Chapbook)<\/h2>\n\n\n\n

Kite Tension<\/h2>\n\n\n\n

Toronto: Words(on)pages Press, 2017.<\/p>\n\n\n\n

Publisher’s Synopsis (From its website)<\/h4>\n\n\n\n

Tinkering with the parameters of language and form, the poems in Kite Extension<\/em> chart a patterned quilt of dreams, presenting dichotomies between the confessional present metonymy of everyday life against the apertures of a soundscape memory of the past. Through these two modes of existence, the speaker tries to find some rite of middle ground where he can make sense of the past and present being one unit. Kite Extension<\/em>, with an air of paradoxical relevance, is the tapping between cosmic perspective and evacuated nature\u2013what the poet calls \u201can unresolved trilogy on my sleeves.\u201d<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\n
\"\"<\/figure><\/div>\n<\/div>\n\n\n\n
\n

Poetry<\/h2>\n\n\n\n

Structures from the Still<\/h2>\n\n\n\n

Baltimore: Akinoga Press, 2018.<\/p>\n\n\n\n

Publisher’s Synopsis (From its website)<\/h4>\n\n\n\n

Structures from the Still<\/em> is an imperative to recall and forge an internal landscape bound by kites, transmission towers, and the shifting sky \u2014 where seemingly unrelated subjects become the very acts of narrative and perception.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
<\/div>\n\n\n\n
\n

Links<\/h2>\n\n\n\n

Stanford Cheung’s personal website<\/a><\/p>\n\n\n\n

Publisher Akinoga Press<\/a><\/p>\n\n\n\n

Publisher Inspiritus Press<\/a><\/p>\n\n\n\n

Publisher The Operating System<\/a><\/p>\n\n\n\n

Publisher Words(on)pages Press<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Stanford Cheung is a concert pianist, intermedia poet, and sound artist from Toronto who maintains an active international performing career throughout North America, the UK, Canada and Asia. A versatile collaborator, Stanford has worked with artists including Morgan Fisher, Steven … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":11,"featured_media":0,"parent":16,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-8475","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/library.torontomu.ca\/asianheritage\/wp-json\/wp\/v2\/pages\/8475","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/library.torontomu.ca\/asianheritage\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/library.torontomu.ca\/asianheritage\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/library.torontomu.ca\/asianheritage\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/library.torontomu.ca\/asianheritage\/wp-json\/wp\/v2\/comments?post=8475"}],"version-history":[{"count":10,"href":"https:\/\/library.torontomu.ca\/asianheritage\/wp-json\/wp\/v2\/pages\/8475\/revisions"}],"predecessor-version":[{"id":14308,"href":"https:\/\/library.torontomu.ca\/asianheritage\/wp-json\/wp\/v2\/pages\/8475\/revisions\/14308"}],"up":[{"embeddable":true,"href":"https:\/\/library.torontomu.ca\/asianheritage\/wp-json\/wp\/v2\/pages\/16"}],"wp:attachment":[{"href":"https:\/\/library.torontomu.ca\/asianheritage\/wp-json\/wp\/v2\/media?parent=8475"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}