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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 /

+ The Salt, the Oil the Milk (Bill Burns)

:‐) Free Reads: Songs from the Acid-free

Paper Box (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

Free Reads for a Week


Songs from the Acid-free Paper Box

An Installation-On-Paper by Lee Ka-sing, 2022

A suite of sixty photographs in sequence.

Fifty two Fragments of photo paper test-strips

from the 80s-90s archive of Ka-sing and Holly’s

studio. In addition, eight new photographs on

Kai Chan’s sculptural objects.

The work was created, on the occasion of

“2K 4.0”, the fourth collaborative exhibition

in Toronto by Kai Chan and Lee Ka-sing.

“Songs from the Acid-free Paper Box”,

an original work in the format of a book,

12x12 inch, 106 pages, with linen hardcover.

Printed on 216 gsm matte paper,

in a seven-colour digital offset process.

Book issued in Limited Edition of Five.


Songs from the Acid-free Paper Box is available at OCEAN POUNDS


PATREON members unlimited access OCEAN POUNDS read-on-line publications

Membership - https://www.patreon.com/DoubleDSoubleStudio

Leaving Taichung


Bob Black

19 Fragments of Youth, Athirst

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

XIX: 2021-2022

Flat muscled and honey coloured, the carapace of memory

sea secrets braid the corners of his ears, now gone.

we flood each other with loss,

we finger each other with loam and detritus from the hovering albatross

light-lanterned, and the flight around each other’s mouth:

the stitching, the unwitching

this black land of grief toward which I face the current alone.

all we once had, and wrote long into the night, now latched,

the dreams dug down and undone,

the same for you?

Hear me NaiNai

utterance of creek and crime, the eel and the fisherman’s keel

a patois of tea and time, this fragment caught up

mercurial as the tide, the goings of our ruins

a spade of undertow

and what was left of you but hair and nails and tossed socks

a pebble fragment

whisp of word, the fens’ hold

all your wonder once ebullient, now this minuscule pair

and a bleep of clacking.

oh NaiNai, hear me, please

M ∞: forward ending

I open

a time of quiet truths.

not forsaken but long left

cuckoo from lost ones and longing

my heart arun in tugging,

the trailing of light and tagging sea


you, closed

rivers and harbours and dogeared pages,

bedhead and shoulder sprung, joint bones and rigmarole,

time’s tempest now a whimper, all gone.

we both, now long, become land dust and liquor

a whirlpool of light, barking beings disjoined and swaying

we both, embryology and accent and terminus taking, so

we left leafing outward, the phonetics and semantics of land and of the sun,

all of us now, malaprop and false sibilants, echo and cadence,

black and ungendered all, the language run.


Holly Lee

Tom Sandberg’s Elusive Photographs Show Mysteries in Plain Sight


From the Notebooks


Gary Michael Dault

Number 162: High-Swimming Fish or Low-Flying Angel (November 1, 2022)


Kai Chan


paper and wire

Order this duo-cover Exhibition Catalogue at BLURB


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

Poem a Week

Gary Michael Dault

stretches out in the sun

like a meadow cat

and reaches over his head

for a handfuls of candyfloss cloud

For Brian, on his Birthday

(written a couple of days ago for my friend Brian

Flack, as he heads into his 75th year. Brian is a poet

and novelist. He lives with his wife, painter Susan

Straiton, in Prince Edward County, a paradisiacal

portion of eastern Ontario)

we email one another

but I don’t see him much

except in my mind’s eye

where, within that gelatinous landscape,

I watch him walking

the still-edenic countryside

near his home

this is poetry day and night:

sometimes he writes down

what he thinks

and fixes his pastoralism

to the page

but sometimes

he just walks through

the wilderness of time

negotiating his way

back to himself

the way a river flows home

November 2, 2022

I see how he rubs his back

against the trees,

plucks at harp strings

of long grass


Fiona Smyth


Wilson Tsang



bq 不 清

紗 布 與 棉 花

你 從 來 無 法 自 控

在 夜 間 , 做 白 天 的 事

譬 如 加 班 : 在 球 場 末 端 守 門

提 防 突 如 其 來 的 弧 線 球


You have never been able to abstain from it.

At night, you do things that you do during the day,

Like working overtime: keeping goal at the end of the field;

guarding against any unexpected curveballs.

而 在 這 片 土 地 上

我 們 專 注 從 內 往 內 望

時 裝 模 特 兒 認 真 地 走 一 條 不 穩 的 天 橋

相 識 的 人 , 相 互 保 持 距 離

And here in this land,

We focus on things from the inside looking in.

Fashion models diligently walk their shaky runways.

People who know each other keep distance from each other,

就 像 林 木 農 場 中 未 被 砍 伐 的 聖 誕 樹

樸 實 而 擁 有 生 命

然 而 隨 後 的 節 慶 燈 飾 並 不 是

為 了 照 明 , 正 如 某 些 衣 裝

Like uncut Christmas trees in a tree farm,

Humble and living.

And the festive lights that come after aren’t

For illumination, but are some types of garment

不 是 為 了 保 暖

或 包 紮 什 麼 謊 言 和 我 們 的 自 卑 感

這 刻 我 們 除 了 逆 來 順 受

就 別 無 他 法 了

That aren’t here to keep us warm

Nor to wrap up lies and our inferiority.

Now, there isn’t much we can do but

To submit ourselves to it.

你 朗 讀 一 篇 以 打 字 機 打 印 的 講 詞

並 且 成 功 跳 過 一 些 錯 字

在 眾 人 面 前 做 臨 場 的

修 改 工 作

You recite a typewritten speech,

And manage to skip some typos,

Improvise a few things

In front of an anxious audience.

一 套 賣 座 的 電 影 落 幕 後

有 人 建 議 製 作 前 傳

創 作 更 多 前 所 未 聞 的 史 料 ——

電 腦 是 美 麗 的 原 子 筆

After a blockbuster movie ended its run,

There were suggestions to make a prequel that would

Fabricate more never-been-seen history—

Computers are beautiful ballpoint pens.

The Photograph

coordinated by

Kamelia Pezeshki

A wool thread, a line of a story by Fatemeh Askarinejad

The old Nomad woman is sitting in the tent, where they

prepare the wool threads, sing songs, and tell stories.

Zagros mountains, Fars province, Iran


Cem Turgay

Caffeine Reveries

Shelley Savor

Early Fall Darkness

Travelling Palm


Tamara Chatterjee

“Madagascar (March, 2010) – While

journeying we often found that children

were the bridge into a community. Their

natural curiosity and fearlessness more

readily mitigated perceived prejudices the

weary adult may have had about us, the trio

of foreigners. Curiosity is the one word

that clearly describes the adventure from

the Malgache standpoint and of ours: the


Bill Burns was raised in a book selling family

in Saskatchewan where he learned about art

and books from monks and poets. His projects

about nature and advanced industrialism have

been shown and published widely including at

the Institute of Contemporary Arts, London; KW

Institute for Contemporary Art, Berlin; Mendes

Wood DM, Sao Paulo; the Museum of Modern

Art, New York; the Museum of Art, Seoul; and the

Stedelijk Museum, Amsterdam.

His artists’ books and audio works include Bird

Radio, Verlag der Buchhandlung Walther Koenig

and KW Berlin and Cologne: 2011; The Flora and

Fauna Information Service, ICA London: 2008;

Hans Ulrich Obrist Hear Us, YYZ BOOKS and Black

Dog Publishing. Toronto and London: 2016; and

the Power 100 Meta List, Verlag Mark Prezinger,

Vienna: 2018. His editions are included in

collections at Cabinet des Estampes, Geneva; Tate

Britain, London; the Museum of Modern Art, New

York; and the Getty Center, Los Angeles.

Bill believes that autoroutes should now be

ploughed under to make room for more wild birds,

flowers, vegetables and goats.


Bill Burns

The Salt, the Oil

the Milk

Excerpted from Donkey, camera, and

auld lang syne

DOUBLE DOUBLE February edition 2022

The following pages are of drawings by Bill Burns, from his cross-media work

The Salt, the Oil the Milk. Eighteen water-colour and pencil drawings on

paper, approximate size: 145 mm x 192 mm.

PATREON members unlimited access OCEAN POUNDS read-on-line publications

Membership - https://www.patreon.com/DoubleDSoubleStudio

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

art-admirers, collectors and professionals from different

cities visiting and working in Toronto.


48 Gladstone Avenue, Toronto




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