24.10.2022 Views

MONDAY ARTPOST 1024-2022

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

MONDAY

ARTPOST

1024-2022

ISSN1918-6991

MONDAYARTPOST.COM

Columns by Artists and Writers

Bob Black / bq / Cem Turgay /

Fiona Smyth / Gary Michael Dault

/ Holly Lee / Kai Chan / Kamelia

Pezeshki/ Shelley Savor / Tamara

Chatterjee / Wilson Tsang /

+ Watercolours (Libby Hague)

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


A number of WAYS to not miss your weekly

MONDAY ARTPOST

Subscribe inbox Notifications about new issue

https://oceanpounds.com/pages/artpost

Browse OCEANPOUNDS front page

https://oceanpounds.com

Visit OCEAN POUNDS Reading Room

https://oceanpounds.com/blogs/rr

“No friendship is an

accident.”

Follow FACEBOOK Page

https://facebook.com/mondayartpost

Follow INSTAGRAM

https://www.instagram.com/oceanpounds

Follow TWITTER

https://twitter.com/ocean_pounds

O. Henry

Join PATREON membership

https://patreon.com/doubledoublestudio


The Photograph

coordinated by

Kamelia Pezeshki

Untitled by Gordon Hawkins


Leaving Taichung

Station

Bob Black

19 Fragments of Youth, Athirst

“Have you feared the future would be nothing to you?”--Whitman

VIX: 2014

The light of the Buddha’s arms in the outstretched cave in Taiwan,

the carving of ink against rock,

the walk like the shifting, slow and surfeit, of surf over sand,

the light in the morning before you unflag into light,

the rhyme unfurled before the syllables sound,

my father’s map both before and after he had set to flame,

the horse’s cantor,

the turtle’s turn under sugar cane,

the solving of equations without polynomials,

the ‘we’ inside of the ewe’s bleat.

the joining and the shearing,

alight.

You.


X: 2014

When I held his hand for the first time, i understood

how buoyant weight watered and coupled in opposition,

fingers bowed like a cat’s cradle

and weaving

the lessening of gravity’s draw,

the pull and tug of angles and reflections convexed,

that special joinery that strengthens and relieves

the falling away and apart.

anchored when the stories coupled in the shape of shadows or fingers

or different languages lifted like kite string let go.

and I knew:

all the ghosts that had run in

and all the simple picking-up-of-things

that became our constellation and calligraphy,

my father had taught me to burn

but he had not taught me to plant

from ash

what can be grown from the loss of long timber.

That I learned on my own

not from the burned maps

but from the putting-together of us, we

The wax and weave of the joinery and the yew.

Gravity shall not, even pully’d over horizon, dissipate,

yet in its pivot and divestment bares and releases strain

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

the curlicues and syllables between our teeth in the morning:

the burning and combing of each:

organ, calcium, dendrite, lace and dream,

all that which lends lip and loss between our silences

the clicking of the letters of his name and mine,

ink key snapping against thin paper

the promises between the knees,

the abacus and the ruler and the carpenter’s tool:

all that, our method and our medicine.

So I followed the movements, when I lept over a southern sky

and there and there and there, we grazed the ineffable:

name, body, story breath like frost against glass,

a settling before the breakage


Greenwood

Kai Chan

Drawing.

Ink, pastel on paper


Kai Chan + Lee Ka-sing

Pre-order this duo-cover Exhibition Catalogue at BLURB

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

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


Poem a Week

Gary Michael Dault

The Midas Hotel

I stayed

three days

at the Midas

Hotel

breaking

several teeth

on solid gold

dinner rolls

hacking into a bowl

of gold soup

with a pick-axe

the size of a fork

freezing at night

on spun gold sheets

and bullion

pillowcases

it sounds

sumptuous

but it was

hard going


CHEEZ

Fiona Smyth


Open/Endedness

bq 不 清

倫 敦 分 散 力

LONDON DISPERSION FORCE

躲 在 海 德 公 園 中 一 棵 樹 後 面 假 裝

在 樹 洞 裡 , 不 動 地 欣 賞 世 界 的 聲 色

說 破 自 己 的 秘 密 : 我 們 沈 溺 於 已 知 的 事

在 這 個 講 求 證 據 的 世 界 裡

I hide behind a tree in Hyde Park pretending

To be inside a tree hole, appreciating the senses of the world

while it reveals its secrets: we dwell on the knowns.

In this world that relies on evidence,

液 體 是 對 你 最 好 的 敵 人

因 為 水 洗 並 不 能 夠 完 全 清 潔 你 的 泥 土

你 眼 見 四 處 山 石 的 體 積 漸 漸

變 成 擁 抱 海 市 蜃 樓 的 沙 漠

Liquid treats you the best among enemies,

For water can’t thoroughly cleanse your soil.

You witness the size of mountains and rocks around gradually

Turning into deserts that embrace mirages.

而 騎 駱 駝 的 人 在 想 像

像 花 的 雲 朵 是 怎 麼 樣 的

又 或 者 , 像 雲 的 白 花 其 實

是 結 果 之 延 續 , 可 是 又 並 非

And a cameleer is imagining

What it’s like to be a cloud that looks like a flower,

Or, a flower that looks like a cloud is in fact

What lies beyond this fruition, that not

每 個 人 都 懂 , 如 那 些 捉 不 住 的 狀 態

不 知 道 是 過 於 油 膩 還 是 久 缺 水 分

因 此 無 法 製 造 出 矛 盾 與 火 花

而 成 為 一 首 你 口 中 的 出 色 的 詩 作

Everyone can comprehend, like those intangible moments

Not knowing if they are overly greasy or too dehydrated

And therefore paradoxes and sparks can’t be made,

which become what you called excellent poetry.


TANGENTS

Wilson Tsang

eclipse


ART LOGBOOK

Holly Lee

Melvin Sokolsky

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

https://www.gilmancontemporary.com/artists/melvin-sokolsky/

Remembering Fashion Photographer Melvin Sokolsky

https://www.showstudio.com/news/remembering-fashion-photographer-melvin-sokolsky


Caffeine Reveries

Shelley Savor

Cold Wind, Dark Shadows


Exhibition ends this week.


Mushrooms and Clouds (but

no Mushroom Clouds)

Paperback Edition

56 pages, 8”x10”, perfect bound.

Published by OCEAN POUNDS.

Order paperback edition at BLURB (CAN$35):

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

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

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

This book was published on the occasion of the exhibition Mushrooms and

Clouds (but no Mushroom Clouds), held at 50 Gladstone Avenue artsalon in

Toronto, October 1-29, 2022.


From the Notebooks

(2010-2022)

Gary Michael Dault

Number 160: A Man Driven Mad by Specificity (October 22, 2022)


Travelling Palm

Snapshots

Tamara Chatterjee

India (May, 2017) – As we rejoice in lighting

our diya, honouring the ethereal “victory

of light over darkness, good over evil, and

knowledge over ignorance”. I can’t help but

having flashbacks of the rather rambunctious

group of youngsters battling it out with

the mud pile in Kumartoli. The mud; a

quintessential component of godly crafts.

Stuck in the mud or playing around, hard at

work or hardly working, duality is always at

the heart of the matter.


ProTesT

Cem Turgay


Support and Become a Patreon member of

Double Double studio

https://www.patreon.com/doubledoublestudio

Unlimited access OCEAN POUNDS

read-on-line publications

CHEEZ 456, by Fiona Smyth

Paperback edition

480 pages, 8x10 inches, perfect binding

CAD $85.00 (plus shipping)

Print-on-demand. Order direct from BLURB

https://www.blurb.ca/b/11161209-cheez-456


Libby Hague

Watercolours

Excerpted from

Reality. Irreality. Augmented Reality.

DOUBLE DOUBLE September edition

200 pages, 8x10 inch (20x25 cm), paperback, perfect bound

Published by OCEAN POUNDS, 2022


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

perfect medium to explore ideas of transformation, where people can temporarily escape some of their

own limitations.

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

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

the Artificial Museum, Vienna.

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

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

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

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

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

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

the character, travelling towards the heart.

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

subsequent iterations in woodcut, watercolour and digital output in a productive feedback loop. In

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

the characters and present myself with a nearly overwhelming variety of choices.

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

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

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

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

My AR mentors have been the SystemKollektiv in Vienna and PixFilmCollective in Toronto.

(Libby Hague)


Chimera

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


Carry me home

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


Betty

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


Something New

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


Whisper in My Ear

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


Blue Swoop

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


Sunrise shower

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


Barely reconcilable

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


Back to Black

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


Under the management of Ocean and Pounds

Since 2008, INDEXG B&B have served curators, artists,

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

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!