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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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art-admirers, collectors and professionals from different

cities visiting and working in Toronto.

INDEXG B&B

48 Gladstone Avenue, Toronto

Booking:

mail@indexgbb.com

416.535.6957

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