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<strong>MONDAY</strong><br />

<strong>ARTPOST</strong><br />

<strong>1024</strong>-<strong>2022</strong><br />

ISSN1918-6991<br />

<strong>MONDAY</strong><strong>ARTPOST</strong>.COM<br />

Columns by Artists and Writers<br />

Bob Black / bq / Cem Turgay /<br />

Fiona Smyth / Gary Michael Dault<br />

/ Holly Lee / Kai Chan / Kamelia<br />

Pezeshki/ Shelley Savor / Tamara<br />

Chatterjee / Wilson Tsang /<br />

+ Watercolours (Libby Hague)<br />

<strong>MONDAY</strong> <strong>ARTPOST</strong> published on Mondays. Columns by Artists and Writers. All Right Reserved. Published since 2002.<br />

An Ocean and Pounds publication. ISSN 1918-6991. email to: mail@oceanpounds.com

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The Photograph<br />

coordinated by<br />

Kamelia Pezeshki<br />

Untitled by Gordon Hawkins

Leaving Taichung<br />

Station<br />

Bob Black<br />

19 Fragments of Youth, Athirst<br />

“Have you feared the future would be nothing to you?”--Whitman<br />

VIX: 2014<br />

The light of the Buddha’s arms in the outstretched cave in Taiwan,<br />

the carving of ink against rock,<br />

the walk like the shifting, slow and surfeit, of surf over sand,<br />

the light in the morning before you unflag into light,<br />

the rhyme unfurled before the syllables sound,<br />

my father’s map both before and after he had set to flame,<br />

the horse’s cantor,<br />

the turtle’s turn under sugar cane,<br />

the solving of equations without polynomials,<br />

the ‘we’ inside of the ewe’s bleat.<br />

the joining and the shearing,<br />

alight.<br />


X: 2014<br />

When I held his hand for the first time, i understood<br />

how buoyant weight watered and coupled in opposition,<br />

fingers bowed like a cat’s cradle<br />

and weaving<br />

the lessening of gravity’s draw,<br />

the pull and tug of angles and reflections convexed,<br />

that special joinery that strengthens and relieves<br />

the falling away and apart.<br />

anchored when the stories coupled in the shape of shadows or fingers<br />

or different languages lifted like kite string let go.<br />

and I knew:<br />

all the ghosts that had run in<br />

and all the simple picking-up-of-things<br />

that became our constellation and calligraphy,<br />

my father had taught me to burn<br />

but he had not taught me to plant<br />

from ash<br />

what can be grown from the loss of long timber.<br />

That I learned on my own<br />

not from the burned maps<br />

but from the putting-together of us, we<br />

The wax and weave of the joinery and the yew.<br />

Gravity shall not, even pully’d over horizon, dissipate,<br />

yet in its pivot and divestment bares and releases strain<br />

and each night the tension candles its kilos into wisps of a word or a found hair,<br />

the curlicues and syllables between our teeth in the morning:<br />

the burning and combing of each:<br />

organ, calcium, dendrite, lace and dream,<br />

all that which lends lip and loss between our silences<br />

the clicking of the letters of his name and mine,<br />

ink key snapping against thin paper<br />

the promises between the knees,<br />

the abacus and the ruler and the carpenter’s tool:<br />

all that, our method and our medicine.<br />

So I followed the movements, when I lept over a southern sky<br />

and there and there and there, we grazed the ineffable:<br />

name, body, story breath like frost against glass,<br />

a settling before the breakage

Greenwood<br />

Kai Chan<br />

Drawing.<br />

Ink, pastel on paper

Kai Chan + Lee Ka-sing<br />

Pre-order this duo-cover Exhibition Catalogue at BLURB<br />

https://www.blurb.ca/b/11309704-2k-4-0<br />

64 pages, 8.5x11 inch, paperback, CAD$35 each

Poem a Week<br />

Gary Michael Dault<br />

The Midas Hotel<br />

I stayed<br />

three days<br />

at the Midas<br />

Hotel<br />

breaking<br />

several teeth<br />

on solid gold<br />

dinner rolls<br />

hacking into a bowl<br />

of gold soup<br />

with a pick-axe<br />

the size of a fork<br />

freezing at night<br />

on spun gold sheets<br />

and bullion<br />

pillowcases<br />

it sounds<br />

sumptuous<br />

but it was<br />

hard going

CHEEZ<br />

Fiona Smyth

Open/Endedness<br />

bq 不 清<br />

倫 敦 分 散 力<br />


躲 在 海 德 公 園 中 一 棵 樹 後 面 假 裝<br />

在 樹 洞 裡 , 不 動 地 欣 賞 世 界 的 聲 色<br />

說 破 自 己 的 秘 密 : 我 們 沈 溺 於 已 知 的 事<br />

在 這 個 講 求 證 據 的 世 界 裡<br />

I hide behind a tree in Hyde Park pretending<br />

To be inside a tree hole, appreciating the senses of the world<br />

while it reveals its secrets: we dwell on the knowns.<br />

In this world that relies on evidence,<br />

液 體 是 對 你 最 好 的 敵 人<br />

因 為 水 洗 並 不 能 夠 完 全 清 潔 你 的 泥 土<br />

你 眼 見 四 處 山 石 的 體 積 漸 漸<br />

變 成 擁 抱 海 市 蜃 樓 的 沙 漠<br />

Liquid treats you the best among enemies,<br />

For water can’t thoroughly cleanse your soil.<br />

You witness the size of mountains and rocks around gradually<br />

Turning into deserts that embrace mirages.<br />

而 騎 駱 駝 的 人 在 想 像<br />

像 花 的 雲 朵 是 怎 麼 樣 的<br />

又 或 者 , 像 雲 的 白 花 其 實<br />

是 結 果 之 延 續 , 可 是 又 並 非<br />

And a cameleer is imagining<br />

What it’s like to be a cloud that looks like a flower,<br />

Or, a flower that looks like a cloud is in fact<br />

What lies beyond this fruition, that not<br />

每 個 人 都 懂 , 如 那 些 捉 不 住 的 狀 態<br />

不 知 道 是 過 於 油 膩 還 是 久 缺 水 分<br />

因 此 無 法 製 造 出 矛 盾 與 火 花<br />

而 成 為 一 首 你 口 中 的 出 色 的 詩 作<br />

Everyone can comprehend, like those intangible moments<br />

Not knowing if they are overly greasy or too dehydrated<br />

And therefore paradoxes and sparks can’t be made,<br />

which become what you called excellent poetry.


Wilson Tsang<br />



Holly Lee<br />

Melvin Sokolsky<br />

https://www.harpersbazaar.com/fashion/photography/a41135117/groundbreaking-fashionphotographer-melvin-sokolsky-has-died/<br />

https://www.gilmancontemporary.com/artists/melvin-sokolsky/<br />

Remembering Fashion Photographer Melvin Sokolsky<br />


Caffeine Reveries<br />

Shelley Savor<br />

Cold Wind, Dark Shadows

Exhibition ends this week.

Mushrooms and Clouds (but<br />

no Mushroom Clouds)<br />

Paperback Edition<br />

56 pages, 8”x10”, perfect bound.<br />

Published by OCEAN POUNDS.<br />

Order paperback edition at BLURB (CAN$35):<br />

https://www.blurb.ca/b/11270926-mushrooms-and-clouds-but-no-mushroom-clouds<br />

ebook (US$5.00), pdf download. Bonus: access code for read-on-line edition<br />

https://oceanpounds.com/products/mushrooms-and-clouds-but-no-mushroom-clouds<br />

This book was published on the occasion of the exhibition Mushrooms and<br />

Clouds (but no Mushroom Clouds), held at 50 Gladstone Avenue artsalon in<br />

Toronto, October 1-29, <strong>2022</strong>.

From the Notebooks<br />

(2010-<strong>2022</strong>)<br />

Gary Michael Dault<br />

Number 160: A Man Driven Mad by Specificity (October 22, <strong>2022</strong>)

Travelling Palm<br />

Snapshots<br />

Tamara Chatterjee<br />

India (May, 2017) – As we rejoice in lighting<br />

our diya, honouring the ethereal “victory<br />

of light over darkness, good over evil, and<br />

knowledge over ignorance”. I can’t help but<br />

having flashbacks of the rather rambunctious<br />

group of youngsters battling it out with<br />

the mud pile in Kumartoli. The mud; a<br />

quintessential component of godly crafts.<br />

Stuck in the mud or playing around, hard at<br />

work or hardly working, duality is always at<br />

the heart of the matter.

ProTesT<br />

Cem Turgay

Support and Become a Patreon member of<br />

Double Double studio<br />

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read-on-line publications<br />

CHEEZ 456, by Fiona Smyth<br />

Paperback edition<br />

480 pages, 8x10 inches, perfect binding<br />

CAD $85.00 (plus shipping)<br />

Print-on-demand. Order direct from BLURB<br />


Libby Hague<br />

Watercolours<br />

Excerpted from<br />

Reality. Irreality. Augmented Reality.<br />

DOUBLE DOUBLE September edition<br />

200 pages, 8x10 inch (20x25 cm), paperback, perfect bound<br />

Published by OCEAN POUNDS, <strong>2022</strong>

The imagery grows from the fluidity of my augmented reality experiments over the past year - a<br />

perfect medium to explore ideas of transformation, where people can temporarily escape some of their<br />

own limitations.<br />

I became interested in Augmented Reality (AR) last year through an invitation to participate in an<br />

AR project called MOVEMENT Toronto < > Vienna, organized by Pix Film Collective, Toronto and<br />

the Artificial Museum, Vienna.<br />

AR as a process is difficult, but magical. Artists create in a 3D world where solids move through<br />

one another with the ease of imagination. It is profoundly strange and slippery - a perfect medium<br />

to explore ideas of transformation and sexuality. These shifting qualities are also a promising way<br />

to investigate human nature under stress - how the good and bad within people can escape bounds<br />

of normal, predictable behaviour and morph into its opposite. When moving in the 3D world, I have<br />

sometimes wondered where the character disappeared, only to realize that I am under the skin, inside<br />

the character, travelling towards the heart.<br />

AR experiments have become an important part of my generative process. I can develop these in<br />

subsequent iterations in woodcut, watercolour and digital output in a productive feedback loop. In<br />

the 3D environment I can try out different drawings, prints or watercolours on the moving surface of<br />

the characters and present myself with a nearly overwhelming variety of choices.<br />

The strangeness of AR has inspired this series of watercolours. Watercolour is more agile than the<br />

woodcuts I usually work with. I paint with a fast brush trying to keep pace with the small dancers,<br />

blending the naive, the erotic and the simply strange. If something gets too slow, too muddy, I cut it<br />

out and use collage to bring in strangeness and freshness once again. It feels like liberation.<br />

My AR mentors have been the SystemKollektiv in Vienna and PixFilmCollective in Toronto.<br />

(Libby Hague)

Chimera<br />

unique work, watercolour, collage, 16 x 14 inch.

Carry me home<br />

unique work, watercolour, collage, 12 x 16 inch.

Betty<br />

unique work, watercolour, collage, 12 x 16 inch.

Something New<br />

unique work, watercolour, collage, 16 x 18.75 inch.

Whisper in My Ear<br />

unique work, watercolour, collage, 17.5 x 18.125 inch.

Blue Swoop<br />

unique work, watercolour, collage, 13.6 x 16 inch. (irregular shape)

Sunrise shower<br />

unique work, watercolour, india ink, collage, 13 x 16 inch. (irregular shape)

Barely reconcilable<br />

unique work, watercolour, india ink, collage, 19 x 16 inch.

Back to Black<br />

unique work, watercolour, india ink, collage, 12 x 16 inch.

Under the management of Ocean and Pounds<br />

Since 2008, INDEXG B&B have served curators, artists,<br />

art-admirers, collectors and professionals from different<br />

cities visiting and working in Toronto.<br />

INDEXG B&B<br />

48 Gladstone Avenue, Toronto<br />

Booking:<br />

mail@indexgbb.com<br />


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