MONDAY ARTPOST 0523-2022

MONDAY
ARTPOST
0523-2022
ISSN1918-6991
MONDAYARTPOST.COM
Columns by Artists and Writers
Bob Black / Cem Turgay / Fiona
Smyth / Gary Michael Dault / Holly
Lee / Kai Chan / Kamelia Pezeshki
/ Lee Ka-sing / Ngan Chun-tung /
Shelley Savor / Tamara Chatterjee /
Wilson Tsang + 44 objects (words by
Holly Lee, Photographs by Lee Ka-sing)
MONDAY ARTPOST published on Mondays. Columns by Artists and Writers. All Right Reserved. Published since 2002.
An Ocean and Pounds publication. ISSN 1918-6991. email to: mail@oceanpounds.com

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“Can miles truly
separate you from
friends... If you want
to be with someone
you love, aren’t you
already there?”
Richard Bach

Leaving Taichung
Station
Bob Black
Trois couleurs: 最 好 的 時 光
“Does the world have nothing inside but sorrow?”–Andrei Platonov
“On windy or rainy days, naturally there are times when these clocks would stop…”-- 陳 黎
Part III
2021: Crimson, a time for freedom
and
our mother’s bedding on our tongues, the taste of their bones nestled in our bellies and their ghosts
scribbling a lost alphabet on our wrists and voice, springing
onward

how does one see through clouded time, the seasons of unseeing, this compass needle long in
nature of seeing of spun magnets and gravitation flow: howl, how, just how to see. So, it is with me.
are we not blind?
these wind-gusted days, on call,
call them what they are, a gambit gamble over our gambol past all that has died, all the stopped up
clocks and rickrack shackled hope. what else to do
in the time of shadow and sorrow: our love
already cantilevered over a dark dominion and then we stood still and straight, so why not, why not
we ask, as we wept into a crimson pillow on the flight back, where spines weakened and breath grew
troubled and how was I to know all the wethings, all the garnet we’s that would change in a jump of
pearl onto black, the currant lips, the ruby neon aglow on their skin in the dark corner of the alley,
light transformed into adverb and accordian, our lives substituted blue for magenta, life for death,
the land for the sky and there it stood, as the canary lights across Mississauga fleets and reflects
back the constellations above and I
understood
that simple gesture, a diary of failure, how far away, how far away, how
far
away the licked-over distance in the print of a smudge of space, how upended this rearranging
became, breath between a barracks of lens and light, the ligature of word and likeness and
yet, we continued yet understood, the how to begin.
bereft. beating. brook.
fall upon me
that there, the light
the light was lanterning
home, we fled all we had fled originally only to encircle the incurable circles and we awoke days
letter as
our mouth was filled with light and the thinning and so, this morning darkness spreads thin the
bone-winter light and the pliable silence
limbers

Neighbourhood
Lee Ka-sing

Poem a Week
Gary Michael Dault
Body Building
“something to astonish
made of sticks and wires”*
the carapace
a breath requires
add a tent of skin
and you add desires
while in a dash of brain
rests a song
from celestial choirs
with the casual
flaming
of high forest fires
*Buckminster Fuller

The Photograph
coordinated by
Kamelia Pezeshki
Celestial Table by John Bladen Bentley

Greenwood
Kai Chan
Drawing, pastel, graphite on paper

TANGENTS
Wilson Tsang
Pivot

ProTesT
Cem Turgay

Caffeine Reveries
Shelley Savor
It Was Necessary To Be In Nature

ART LOGBOOK
Holly Lee
1. Watch this incredible Journey On a Painted Landscape
https://www.youtube.com/watch?v=OZlUvIV50Ww
(6 mins)
2. Ukraine: Updates from Magnum
https://artpil.com/news/ukraine-updates-from-magnum

CHEEZ
Fiona Smyth

ON LINE
ON SITE
https://oceanpounds.com/blogs/exhibition/cheez2022
Exhibition will be online on May 28, 2022
Prints available at OP online shop
A suite of 31 originals will be on display
CHEEZ 456, BOOK LAUNCH. Paperback and electronic edition
View Trailer Copy- https://oceanpounds.com/blogs/book/cheez456

Travelling Palm
Snapshots
Tamara Chatterjee
Canada (April, 2016) – The light has shifted,
the fierce summer sun is starting to make
headway as the planet’s axis tilts. So it starts;
construction season has effectively begun,
gusts of dust permeating everything. As the
spring rains dwindle down to namely short
angry outbursts, it’s evident the next few
months will be dusty, dirty and loud. The only
real change is the mind-altering skyline.

Yesterday Hong Kong
Ngan Chun-tung
Woman painter (1962)
Gelatin silver photograph, 8x10 inch
From the collection of Lee Ka-sing and Holly Lee

From the Notebooks
(2010-2022)
Gary Michael Dault
Number 138: A Baselitz Angel (December 3, 2021).

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COLLECTION
An excert from the Current Issue of
DOUBLE DOUBLE (May edition 2022)
“The Fence, the Garden, the Connoisseur”
Objects, traces, and
the winding paths
44 objects from the
archival bins of
Ka-sing and Holly
Words by Holly Lee
Photographs by
Lee Ka-sing

Object on the move
If a photograph reminds us of certain times, people and occurrences, an object, sometimes can recall
more. Physical and tangible, objects convey memories with greater fluidity. It captures moments of
action, impressionistically, yet with more clarity. Undeterred by the fact that, after more than forty
years, it is still like yesterday I performed an everyday ritual of rushing to work, chasing after a green
light mini-bus whose capacity of sixteen seats was nearly filled, about to blast off as I ran after it. I
was in my green in the summer and brown in the winter uniform - a cheongsam slightly above my
knee; wearing medium heels, the running proved challenging. I was always, and almost, late for work!
This reoccurring scene in my dreams tells me one thing - my suppressed anxiety, my unenthused,
reluctant attitude toward an occupation, envied by many but loathed by me, as a bank clerk in the
financial world.
Object as wearable art
We have three unique brooches from Frog King. These three pieces of artistic jewelry always remind
me of the first time we visited New York. Some time before the mid eighties, a handful of Hong Kong
artists had already established their base in New York. We’d visited the studio of Ming Fei ( 費 明 杰 ),
Szeto Keung ( 司 徒 強 ) and the Frog King (Kwok Man-Ho 郭 浩 孟 ). Was Kwok called the Frog King
before our visit, or after? I don’t remember. He started the project “Frog Glasses”, in which he invited
everyone he met to wear the special glasses he designed, and took a picture of that person. I had one,
Ka-sing had one. We didn’t get to keep the glasses, just the pictures. Perhaps it was the materials
(very similar to the jewelry pieces) he used to build around the frame of the glasses that messed up
my timeline. Still clear on my mind, one day in Manhattan, in his studio, he was assembling materials
obtained from a warehouse type of shop in Canal Street: plastics, buttons, beads, shells, metal parts
and other rare junk he considered fit, to make his wearable art. After designing and gluing all the
parts for the jewelry, he would toss them in the big flat wok in the same room. When we met him
that afternoon, he was in the middle of “frying” and finishing his assembled jewelry for a richer
and saucier color. They looked one of a kind and definitely had a good market. What a good skill to
maintain his survival as an artist in an overly expensive city like New York. Since I never wear any
jewelry, we’ve kept these three items in our collection, hang them sometimes here and sometimes
there, but never too far from sight.
brown over the years, and is now covered with blotches of green. The excavated horse is known to be
2000 years old, unearthed from a Han tomb in 1969 at Wuwei, which, around that time, was a hub
of the famous Silk Road. This breed of horse was thought to have descended from heaven, highly
priced and mentioned in Chinese history as the “blood-sweating” breed. They used to roam in the
Kingdom of Dayuan ( 大 宛 ) in the Ferghana Valley, north of the Hindu Kush. The iconic horse is in
constant motion, galloping and neighing while resting his right hoof on a flying swallow. Talking about
horse gaits, there was a well-known photo experiment by Eadweard Muybridge in 1878. He used
high-speed stop-motion photography to capture the movements of a running horse. In the sequence
of pictures, one shows three hooves in the air, and one on the ground, just like the bronze horse in
our collection. Another picture proves that the horse has all four feet in the air during some parts of
its stride. The invention of photography is such a magical thing - the camera can see things that the
human eye can’t. But two thousand years ago, before most things were invented, the human eye could
already detect the correct movements of a horse - the beautiful moment before its fourth leg lifted off
from the prey, freeing the bird to the air. I could easily associate this horse with Pegasus in the Greek
legend - the great flying horse Bellerophon rode. Our horse, being a descendent from the celestial
breed, is more powerful and swift. It could lift off easily and miraculously - even without the presence
of mighty wings.
The life and death of an object
To contemplate on an object, its life and death, to enter a blue mystical journey. The Dracaena
we bought ages ago bore the shape of a heart. We call it the heart plant. Now wrinkled, dried and
dead, still stretching out its skeletal limbs, to affirm a different existence. With her head burnt half
way, tears waxing and flowing down along her left shoulder, the red brief candle is not yet out, it
still burns, its flame flickers in the occasional incoming draft. In our collecting bin we have a dried
seahorse, which is one of the strangest marine fish. It looks more like a mythical creature, a hybrid of
horse and fish. Wearing a segmented bony armour, it swims in an upright position. Can you tell if this
one is dead or alive? Another relic, the big jaw, is only partially alive. I always wonder what animal
this was, and why we purchased it. Because we were young and fond of bones, and things that look
archaic? The kitchen is also our place to keep memories. We hang the dried roses on the kitchen
wall; they were white once. It was from Tommy, who died in 2016; the flowers live a second life, and
over the years, turned honey brown. Now, this blacksmith from Prague, 19 inches tall, who stands just
outside the kitchen entrance, whose image was it after, and what was it he wanted to say? Perhaps a
divided history of darkness and light? The only living creature here is the black feline walking - the
true likeness of our cat, Sukimoto. Still well and alive, a cute mini portrait made by our friend Tomio
Nitto. Whenever I walk into the bedroom, I always see this particular match box among other items
on the bookshelf. Autumn Fireflies, that’s the translation of the two Chinese characters. Although it
is a small box with only a few matches left, in my mind, it always contains enough matches inside, to
ignite the night sky of a poet’s mind.
Object of magical thinking
The Han Dynasty flying horse replica has been with me for a long time. I purchased it when I visited
Dunhuang in the late eighties. We are neglectful guardians and, as a result the horse lost its metallic
(written by Holly Lee)

Dong Bobo, by Zunzi Wong
150 x 95 x 90 mm, ceramic.
Gift from the artist.

16 seats public light bus of Hong Kong
45 x 85 x 32 mm, metal, plastic (in scale model).

Blacksmith from Prague, wooden puppet
470 x 130 x 95 mm, wood, fabric, paint.
Purchased in 1992.

Dried branch of Dracaena Marginata
510 x 350 x 110 mm
We bought a small plant in late 90’s for its ‘heart shape’. Somehow the plant died off after twenty years. The
heart is still there.

A seven-stanza poem for Holly, by Lee Ka-sing
Seven separated wood blocks, 62 x 62 x 37 mm each, wood, photo-print, acrylic medium.
Ka-sing “wrote” to Holly in 2014 after seeing her new work CLAW SCRIPT”.

Our cat Sukimoto, by Tomio Nitto
110 x 90 x 25 mm, paper Mache.
Gift from the artist.

Dry seahorse
135 x 75 x 20 mm
One from dozens of objects Ka-sing used in a commissioned photo assignment (“water” of Five Elements) for
Cathay Pacific Airways.

Broken Halo from the Statue of Liberty
Two separated pieces, 65 x 45 mm and 40 x 35 mm, metal.

A reconstructed Polaroid Land camera
250 x 145 x 60 mm (folded).
Most photographs in this series were taken with this camera under natural light.

CURRENT ISSUE
“The Fence, the Garden, the Connoisseur”
(DOUBLE DOUBLE, May edition 2022)
View Trailer Copy:
https://oceanpounds.com/blogs/book/fgc
Subscription:
https://www.patreon.com/doubledoublestudio

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