MONDAY ARTPOST 0123-2023

MONDAY

ARTPOST

0123-2023

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 /

+ Vintage photographs of

Hong Kong by Yau Leung

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

DOUBLE DOUBLE

City Mirage Snow

http://books.oceanpounds.com/2022/12/cms.html

The Painter The Photographer The Alchemist

http://books.oceanpounds.com/2022/12/ppa.html

The galloping jelly pink horse with pea green

spots

http://books.oceanpounds.com/2022/10/phgs.html

Reality Irreality Augmented Reality

http://books.oceanpounds.com/2022/10/rar.html

The Book The Reader The Keeper

https://books.oceanpounds.com/2022/09/dd202208.html

Windmills Fields and Marina

http://books.oceanpounds.com/2022/07/wmf.html

Island Peninsula Cape

http://books.oceanpounds.com/2022/05/blog-post.html

The Fence the Garden the Connoisseur


Hana Picnic Stones


Terrain Little Red Riding Hood Rosetta


Donkey camera and auld lang syne


The Fountain the Shop the Rhythmic Train


The Book The Reader The Keeper/ DOUBLE DOUBLE August edition 2022/ Ushioda Tokuko

Lee Ka-sing

CODA (2020)

https://books.oceanpounds.com/2022/12/coda.html

Diary of a Sunflower, Book Two (2022)

https://books.oceanpounds.com/2022/12/ds.html

Eighty Two Photographs (2021)

https://books.oceanpounds.com/2021/10/82p.html

Time Machine (2021)

https://books.oceanpounds.com/2021/12/tm.html

Songs from the Acid-free Paper Box (2022)

https://books.oceanpounds.com/2022/10/sa.html

Songs from the Acid-free Paper Box

Museum edition (2022)

https://books.oceanpounds.com/2022/10/sab.html

“That Afternoon” on Mubi, a dialogue: Tsai

Ming Liang and Lee Kang-Sheng (2022)

https://books.oceanpounds.com/2022/11/ta.html

The Travelogue of a Bitter Melon (2022)

https://books.oceanpounds.com/2022/11/tbm.html

Swan House (2021)

https://books.oceanpounds.com/2022/12/swanhouse.html

“Journeys of Leung Ping Kwan” (2023)

http://books.oceanpounds.com/2023/01/pk.html

CODA/ Lee Ka-sing

Holly Lee

Nine-Years (2020)

https://books.oceanpounds.com/2020/02/ny.html

Istanbul Postcards (2021)

https://books.oceanpounds.com/2021/07/ip.html

DOUBLE DOUBLE Box in a Valise a closecropped

(2020)

https://books.oceanpounds.com/2020/05/ddb-cc.html

DOUBLE DOUBLE Box in a Valise on-site

(2020)

https://books.oceanpounds.com/2020/05/ddb-os.html

Six Poems (2022)

https://books.oceanpounds.com/2022/11/6p.html

The Air is like a Butterfly (2021)

https://books.oceanpounds.com/2021/07/tab.html

Gary Michael Dault

Still Life Still A Book of Vessels (2022)

https://books.oceanpounds.com/2022/09/bv.html

The Book of The Poem (2022)

https://books.oceanpounds.com/2022/08/bp.html

The Nearby Faraway Small Paintings on

Cardboard (2022)

https://books.oceanpounds.com/2022/09/small-paintings-on-cardboard.html

Time Machine (2021) photographs by Lee

Ka-sing, Haiku by Gary Michael Dault

https://books.oceanpounds.com/2021/12/tm.html

1

Swan House (2021)

https://books.oceanpounds.com/2022/12/swanhouse.html

DOUBLE DOUBLE Box in a Valise on-site

Sleeping Beauty 2021

17 x 35 x 2.5 cm, wire

Calendar Beauty Vintage Calendar posters

from China

https://books.oceanpounds.com/2020/03/cb.html

Kai Chan

2K-4.0 (Kai Chan + Lee Ka-sing)

https://books.oceanpounds.com/2022/10/2k40.html

Twenty Twenty An exhibition by Kai Chan

https://books.oceanpounds.com/2021/09/tt.html

Shelley Savor

Mushrooms and Clouds but no Mushroom

Clouds

https://books.oceanpounds.com/2022/09/mcmc.html

Libby Hague

Libby Hague Watercolours

https://books.oceanpounds.com/2022/11/lhw.html

Tomio Nitto

The Diary of Wonders

https://books.oceanpounds.com/2021/10/dw.html

Fiona Smyth

CHEEZ 456

https://books.oceanpounds.com/2022/05/c456.html

Twenty Twenty/ Kai Chan

Greenwood

Kai Chan

Hello Tomorrow

66 x 7 2,5 cm, basal wood, bamboo, photo transfer

Poem a Week

Gary Michael Dault

Adjacent Flowers

newly

adjacent

flowers

your eye springing

on their

trampoline petals

their colour

swarms you

like sudden

tawny animals

in a forest

ProTesT

Cem Turgay

Caffeine Reveries

Shelley Savor

Year of the Water Rabbit 2023

The Photograph

coordinated by

Kamelia Pezeshki

Millcreek canyon by Kamelia Pezeshki

Open/Endedness

bq 不清

去年

LAST YEAR

一點也沒有改變。那次我們說

再見的時候 , 依舊談論天氣

雨芥末般流淚 , 帶鹽的海

早已像魚生被切片卻

永遠無法分離 ; 更多的魚在內做

日常的事譬如表演獨白

而一個個氣泡升往水面上

不被察覺

Nothing has changed. While we said

Goodbye, as usual they talked about the weather.

Rain teared like wasabi. The saline seas

Were sliced into sashimis but they

Couldn’t be separated entirely; more fish were inside

Living their daily lives performing soliloquies

As bubbles rose to the surface.

But no one noticed.

TANGENTS

Wilson Tsang

Fabrication

Travelling Palm

Snapshots

Tamara Chatterjee

India (December, 2016) – We arrived at

the bedraggled palace, after a sunny drive

through the dusty desert. The caretaker let

into the decaying, Rajput era compound

to explore the some areas of the derelict

beauty. He guided around; with animated

pantomime pointing out some of the more

majestic details. We enjoyed a calm cup of tea,

before a boisterous group of mini trespassers

reanimated scenes of a nostalgic past.

https://oceanpounds.com

New at Poetry section -

New Look. More Content

Private Ride: Ten Motorcycle Poems

by Gary Michael Dault

CHEEZ

Fiona Smyth

ART LOGBOOK

Holly Lee

In the Studio: Dayanita Singh’s New Conceptions of Photography

https://www.artnews.com/art-in-america/features/dayanita-singh-in-studio-1234632625/

Dayanita Singh: Dancing with my Camera

https://www.exibartstreet.com/news/dayanita-singh-dancing-with-my-camera/

Leaving Taichung

Station

Bob Black

Child

“Let us try, if we can, to enter into death with open eyes...” - Marguerite Yourcenar

A child set along a current of language adrift the leopard land

see him beneath a river cloud unseemed and apart,

a barron twitch seamless above the mirrored hope in a hoop of netting and his long-limbed

frustration

beside an overly-chatty stream hoaxed well,

she understood that, the tackle and the tearing,

all that he would become and what she would allow, forever

the death in the trench a few decades from now nonetheless as his life laid distilling

her holding-on breaking apart as their connection and chemistry rivered on--

through his struggle and disappointment and imagining.

Can you see this, the gravel and leaves and chapped skin warmly touched?

This child that stood above the vein’d river and clawed at the cloud stiffening beneath his trickling

feet atilt

gawking at sparrows and glazed-green coke bottles as he, pick after pick after pick, pully’d against

the water

bringing to his mouth the cotton white in his paws, the back of his throat apricot pink

the words she fed him crystalline with meaning, the conjugation still tasteless

just damp and fecund and breezy

each finger-prick point pushed the shape away and away and away,

as a mid-sentence comma periscopes its button of pause and shrinking

leaving behind the drum beat of a first syllable planted—

the rest she was giving him up and that was all the mattered

the gravel and leaves and chapped skin warmly touched.

This child spilling out his tiny frame into a new bone star

deconstructing the land between him and her rearrangement fishing the chalking light

still below the coppery leaf smudged by his size 2 boots, she goes wondering

his skin, the pieces of the cumulus peeled together, a stitched sweater over his shoulders

or the recoil from a too-concerned touch and transplanting

skin the sky into shape and what lay just out of his reach

the bone-beat a small click of the first piece of her undoing

his heart tumbling away, the sound she would learn to abide and cadence--

he was three and now she was learning

the fist of loving for the first time, the gravel and leaves and chapped skin warmly touched.

To set him to drift away, the delta long in its clouding and plowing

the muck and thawed stones, the “wait up” echoed in the distant, immature thunder

his tumbling through his struggle and disappointment and imagining, banging

pully’d against the drought of her words as each finger pushes the shape of belief

away and away and away,

the impervious, the boreal, the forlorn light in the back of the heart’s chamber, valving

the chalking light and what lay just out of his reach,

what lay just outside her heart tumbling away

a sound she once learned to abide and cadence

and their chemistry rivered on, lives divesting, the fork in the meal of the road,

this gravel and those leaves and that chapped skin reluctantly touched?

This child

a theatre of lines,

a pavilion of shadows,

a circus of dreams,,algebraic

this child scampering over the line of red hills awkward in the distance and the seadarkening

shapes of this world,

the hum and the music, like a break over a bereft bone,

grew into the shape of this, she knew when she brought him forth from between her legs,

while the horizon receded and recovered in his leave-taking,

the world was relentless and time was dismissive

her heart plucked as she once imagined because there he went,

his stories beckoning his body

through his struggle and disappointment and imagining

gone.

this poem is dedicated to my son Dmia Black, my uncle Chester K Woodward, the poet

Chi-wan Choi and my grandmother Elizabeth (Peggy) Woodward

From the Notebooks

(2010-2022)

Gary Michael Dault

From the Notebooks, 2010--2023

Number 163: Flower Pistol (March 17, 2020)

Yau Leung 邱良 (born in Hong

Kong 1941-1997) one of the most

significant and accomplished

documentary photographers in the

city. Working in a style inspired by

Henri Cartier-Bresson and Robert

Frank, he captured the very essence

of the City through evocative images

- its bustling streets, people and

activities frozen in pivotal moments.

Yau Leung worked as a photographer

for studios in his earlier days, and

later as editor for photography

magazines, helping to promote the

work of others. Through his busy life,

Yau had not ceased to be an active

photographer, he kept pursuing his

lifelong project of documenting Hong

Kong, until his accidental death in

1997. His body of work, indisputably

forms the most important and

fascinating social documentary of

people living in Hong Kong from the

1960s to the 1990s. Yau has several

monographs published: 60s/70s

Image of Hong Kong (1992); 60s/90s

Growing Up in Hong Kong (1994);

Photo Hong Kong 1950s-1970s

(1996); City Vibrance: Hong Kong

1940s-1990s (1997); Images of Hong

Kong 1960s-1970s (1999).

Vintage photographs

of Hong Kong

by Yau Leung

from the collection

of Lee Ka-sing

and Holly Lee

Hong Kong Festival (Statue Square, Hong Kong & Shanghai Bank, 1969)

by Yau Leung

Crowds turned out by the hundreds in the first Hong Kong Festival in 1969. Two more Hong

Kong festivals were subsequently held, in 1971 and 1973.

8x10 inch, gelatin silver photograph printed in the nineties

OP Selection, edition 2/100, signed on verso

Celebration (Wong Tai Sin Resettlement Estate, 1965)

by Yau Leung


Edition 1/100, signed on verso

Blissful Downpour after a long drought (Castle Peak Road, Shamshuipo, 1963)

by Yau Leung

Hong Kong was hit by a severe drought in 1963-4, during which water supply was restricted to

4 hours per 4 days. These boys were rapt to see the pouring rain and rushed to embrace the free

shower.



Train Junction (Ma Liu Shui, 1963)

by Yau Leung


signed on verso

Smiling Faces (Rooftop school, Wong Tai Sin, 1965)

by Yau Leung



Car Park (1963)

by Yau Leung


signed and titled on verso

Two Women (Gloucester Road, 1961)

by Yau Leung

Taken on Gloucester Road, Wanchai, an area in the red light district bristling with bars and restaurants

frequented by expatriates and seamen in the U.S. navy.


OP Edition, edition 16/20, signed on verso

King Kong (Shaw Movie Town, 1974)

by Yau Leung



The Bank of China Building (1963)

by Yau Leung



The Hong Kong Bank Building (1963)

by Yau Leung



Des Voeux Road Central, near Western Market (1964)

by Yau Leung



Tramway (Hennessy Road, Wan Chai 1963)

by Yau Leung



Connaught Road Central (1964)

by Yau Leung

8x10 inch, gelatin siver photograph printed in the nineties


Private Cars and Public Bus (Castle Peak Road, 1963)

by Yau Leung



Memorial Day Ceremony (Central 1968)

by Yau Leung



Harbour View of Victoria Peak, left (60s)

by Yau Leung



Harbour View of Victoria Peak, right (60s)

by Yau Leung



Say Cheese! (Wan Chai 1966)

by Yau Leung



Classic automobile 171 (Shaw Movie town 1971)

by Yau Leung



Fishermen’s Squatters in Cheung Chau (1961)

by Yau Leung



Chinese Maid in Central Market (1963)

by Yau Leung



On The Road with a Lantern (Thompson Road 1961)

by Yau Leung



Sidewalk Photo Service (1963)

by Yau Leung



Snatching the Crackers in Bun Festival (Cheung Chau 1966)

by Yau Leung



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

MONDAY ARTPOST 0123-2023

Create successful ePaper yourself

Delete template?

Save as template?