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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 /

+Pairing (Kai Chan):‐)Book Review

Fiona Smyth CHEEZ 456

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

Book Review


CHEEZ by Fiona Smyth

480 pages, 8x10 paperback, $85.00

Published by Ocean Pounds, May 2022

Book Review


CHEEZ by Fiona Smyth

Paperback edition available at BLURB


Ebook edition (pdf download) available at Ocean Pounds online shop



Unlimited access all read-on-line edition of books published by Ocean Pounds

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From the Notebooks


Gary Michael Dault

From the Notebooks, 2010-2022

Number 163: Giacometti Comes to a Flaw in the Road (August 2, 2022).

The painting comes with a poem--or perhaps a near-poem:

Giacometti came to a flaw in the road

and stopped at once to adjust his load

which spread on the ground

like lemon peels

behind his heels

and while he pondered

his fallen self

a fox sauntered up and ate the parings

leaving Giacometti to recast his bearings:

and he came to a conclusion

after a moment’s confusion:

“Come, Annette, we need not

linger here.”

To which Annette replied

“Very well, my dear.”


Holly Lee

Joni Stern bach


Process: Joni Sternbach: Documenting Surfers on Tintype



Wilson Tsang

The astronaut


bq 不 清

卡 式 錄 音 帶


有 多 少 人 能 夠 一 直 沿 著 從 前

走 過 的 蜿 蜒 小 路 回 到

一 週 之 中 最 有 意 義 的 星 期 六

迎 接 星 期 天 的 到 來

How many of us can keep following the same

Winding path you walked before and go back

To the most meaningful day of the week, Saturday,

in anticipation of Sunday,

以 把 未 及 完 成 的 事 做 好 ?

衣 櫃 裡 的 衣 物 不 用 摺 了 ; 天 空 的

顏 色 從 未 轉 變 , 像 城 市 的 鏡 子

單 純 但 多 疑 , 尤 其 當 你 走 近 的 時 候

So that we can have the unfinished matters completed?

Clothes in the wardrobe don’t need to be folded; The colours

Of the sky have never changed, like the mirrors of the city,

Simple and full of suspicion, especially when you approach

你 總 是 往 前 望 但 又 同 時 顧 慮

左 右 , 像 每 次 駛 過 同 一 個

沒 有 交 通 燈 , 算 不 上 繁 忙 的 十 字 路 口

究 竟 那 些 喇 叭 聲 從 何 而 來 ?

And always look ahead but at the same time worry about

Left and right, as if driving through the same intersection that

Has no traffic lights and isn’t exactly busy,

So where do those horns come from?

凡 事 一 體 兩 面 , 建 築 物 的

外 牆 以 內 是 另 一 個 世 界

來 這 裡 的 人 每 週 都 一 樣 毫 無

表 情 , 除 了 反 的 時 候

Everything has two sides. Inside the exterior walls

Of this building is another world.

People come every week without

Expression, except when they flip.


Fiona Smyth

The Photograph

coordinated by

Kamelia Pezeshki

Azam’s collection by Kamelia Pezeshki


Cem Turgay

Poem a Week

Gary Michael Dault

that a hammer

can hold something

in place?

that Being

is the Taking

you don’t take?

then there’s a hot train

rattling beyond the woods

with foaming cars

and cigar smoke

of pecking at

his block of truth

start to form again

the way the sun

fills in shadow

his hands are open

this is how

a true day begins

as the wounds

of thinking

go down before

his prancing pulse

The Philosopher’s Cottage*

he is thinking by himself

behind shutters

with distance


a pair of flaccid trees

beyond the windows

to attach

with anger

when ideas fail

which are what?

that rigidity

can deliver insight?

is it possible

the passengers

will stay bounded

and not speak

to one another?

and he calls out

like a bird

pulling threads

from his distemper

his disclosures

gleam in the moonlight

bright as the eyes of animals


as the train


the consequences

the open window

admits the hard breeze

of his rustling


he will write up

these notes

before the waters


before he has to

go home

where there is little

of kindness

*There is admittedly some Heidegger here,

but not enough, I trust, to be oppressive.

Caffeine Reveries

Shelley Savor

Old Sweater

Travelling Palm


Tamara Chatterjee

France (March, 2022) – In preparation of

hibernation; I’ve been fixated on the last

glimmers of daylight. Always mindful that the

evening’s embrace arrives earlier than desired.

As the winds shift and winter season draws

closer, I am reminded that eventually the

perpetual spring will return.

Leaving Taichung


Bob Black

A Balance in Wulai


bit of wind scampering,

that unabated kiting that had not yet known the shadow-tang of sorrow

and at flight with fear singing past the strain, a lullaby

and over the rickruck raucous,

the with and the other

and the continent of wirld,

the child and the chief bit into the night

the heart’s fugitive cartography

eye-to-eye in front of hamlet and hurt

glib lulling of evocation, an integument of riddled sympathy

face-to-face with the loneliness of senescent stomping-grounds

and the two of you left from the cliff through the curtains of the waterfall,

the cadence of enervated limbs caught between the rooster’s call and a wet kiss

the elder’s stone knife and warning once dismissed.


language lay lackadaisical on the hill remnant above Taipei

a body’s remains gapping contention, an arrow in its throat

the left divestiture, to the right hawk, crow and ghost

an inauspicious song looming along the spine of Yushan,

typhoon and rackle, the story a fault line,

a call rhymes up the hill

a grandmother’s clack, the crack in the teacup teetering,

gemstone ghosts and tatoo amore.


drop of water from the monkey’s bark springs the tree scattering,

Ama’s story or your own rests on the largest side

the black boar arched up, scampering and languishing in the weeds—

the tides howling fall below or the stones from the ancient gods laying to rest

knee, knife and crag along the velly and valley cloud eye, the lines on the back of her hands.

Are there fallen places above and below remaining, ever?

For: Tobie Openshaw, Sean Kaiteri, Michelle Kao and Amang Hung


Kai Chan


paper, wire

Order this duo-cover Exhibition Catalogue at BLURB


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

[2K 4.0] the fourth collaborative exhibition by Kai Chan

and Lee Ka-sing. Exhibition runs thru December 10, 2022,

at 50 Gladstone Avenue artsalon, Toronto

(visit by appointment mail@oceanpounds.com)

(on wall) 16 works (Pairing) by Kai Chan

(on table) an artist book by Lee Ka-sing

View the artist book:

[Songs from the Acid-free Paper Box] (for Holly)


Kai Chan

Pairing ( 對 對 )

16 works from the

exhibition 2K 4.0

Paul & Mary

61 x 54 x 15 cm

balsa wood, maple, oil and acrylic paint

Karen & Frank

57 x 59 x 10 cm

balsa wood, maple, wire, acrylic paint

Sam & Nancy

30 x 10 x 2,5 cm

button, cider, balsa wood, maple, oil and acrylic paint

George & Nancy

82 x 27 x 2,5 cm

paper, bamboo, balsa wood, maple, acrylic paint

Maria & Paolo

38 x 29 x 9 cm

glass bead, button, wood, wire, plastic twist, acrylic paint

Alfred & Sam

23 x 44 x 11 cm

plastic twist, wire, acrylic paint

George & Sam

117 x 46 x 13 cm

cider, bamboo, silk thread, wire, dye

Kim & Ginger

gampi paper, wire, acrylic paint

Nancy & Sally

36 x 32 x 5 cm

balsa wood, rattan, dogwood, pine, acrylic paint

Linda & Linda

47 x 36 x 7 cm

canvas, wire, acrylic paint

Kenny & Pinky

43 x 29 x 19 cm

plastic, plastic twister, wire

Peter & Sammy

button, equisetum, wood, wire, acrylic paint


13 x 21 x 7,5 cm

cotton and silk thread, wire, acrylic paint


19,5 x 8 x 5 cm

cotton and silk thread, wire, acrylic paint


13,5 x 7 x 6,5 cm

cotton and silk thread, wire, acrylic paint


19,5 x 8 x 5 cm

cotton and silk thread, wire, acrylic paint

The galloping jelly pink horse with pea green spots

Paperback edition available at BLURB



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Subscribe Membership (monthly membership fee starts from US$5.00)


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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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