MONDAY ARTPOST 1024-2022

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

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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

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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.

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