MONDAY ARTPOST 0213-2023

MONDAY 

ARTPOST 

0213-2023 

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/ Lee Ka-sing / Shelley Savor 

/ Tamara Chatterjee / Wilson Tsang 

+ Six portraits (Holly Lee) 

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 

https://books.oceanpounds.com/2022/03/dd202203.htm 

Donkey camera and auld lang syne 


The Fountain the Shop the Rhythmic Train 


The galloping jelly pink horse with pea green spots/ DOUBLE DOUBLE October edition 2022/ 

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 

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 

Swan House (2021) 

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

1 

Still Life Still A Book of Vessels / Gary Michael Dault

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

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 

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 

Shelley Savor 

Mushrooms and Clouds but no Mushroom 

Clouds 

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

Libby Hague Watercolours/ Libby Hague

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From the Notebooks 

(2010-2023) 


From the Notebooks, 2010-2023 

Number 166: Florabundance: Still Life Valentine with 

Addendum (stapled) Flowers (Jan 2, 2013--February 9, 2023).

Open/Endedness 

bq 不清 

雙數 

EVEN NUMBERS 

我相信隔代遺傳 : 他的祖父是位 

有學問的人 , 因此他成為教授之後 

便決定不要孩子了 : 沒有一顆雨點是 

相同的他說 , 儘管這並不怎麼重要 

I believe in atavism: his grandfather was a 

Man of knowledge, thus as a professor, 

He didn’t want any kids: no two rain drops are 

Alike, he said, although it didn’t really matter. 

跟長輩保持聯絡是困難的 

小學老師曾經教我們如何寫信 

可是不久之前 , 我們教老師 

如何發短訊 : 那是我們最後一次相聚 

Difficult it is. To stay in touch with elders. 

School teachers taught us how to write letters, 

But not long ago we showed them 

How to text: that was the last time we met. 

而我並不是一個喜歡旅遊的人 

但我享受到別的城市過相同的生活 

不要告訴我 , 你已經學會靈魂出竅 

一個鐵球 : 幾乎無法沉靜 , 無法靜止 

And I am not someone who enjoys taking trips, 

Though I enjoy going to another city to live an identical life. 

Don’t tell me you’ve learned how to astral-project. 

A cast iron ball: almost impossible to calm down, to be still.

Archive 

Lee Ka-sing 

Ka-sing in Guangzhou, 1960 , (opposite page) Ka-sing in Guangzhou, 1959 

From https://archive.leekasing.com and https://c.leekasing.com

Greenwood 

Kai Chan 

“Reading Maruice Sandak” 

24 x 31 x 8 cm, wood, masonite, paper, wire, acrylic paint

Leaving Taichung 

Station 

Bob Black 

Late life, fragment 

“Today, it seems, was the day I was meant to die.”—Semezdin Mehmedinovic 

“We are an echo that runs, skittering, 

Through a train of rooms.”—Czeslsa Milosz 

Shall I seduce you with loneliness and defeat, dark and damp, or the body’s regeneration? 

So here it is: 

a small pink ridge hills the middle of my chest, a scar which knuckles along the once taut skin of 

itinerant days long before there was a this day, an ill-equipped railroad track caravanning across 

the center of my life, perfectly bifurcated, the before and the after formed from an act of scapple 

and clamp invasive as the doctor’s voice, ‘if we do not operate, you will die,’ the riddle that gets all 

choked out in order to save a life, my own, as it were, the legs’ till which quiver at night when weary 

or bubbly of meds, the frosty talks with myself in bed late at night when the dark outside is a tone I 

cannot locate clearly as misgivings press against the disfigurement of my body, my head a medical 

steel spoon, or an incubus sitting atop me, ghoul-growling and perked pointedly and ripe, this daily 

reminder of life’s survival of the bruising and atrophy, the worry a dark cul-de-sac of compost in the

ack yard, a gutter in the back of the throat accumulating an aphid buzzing, the decay and noirish 

rebirth of all things, picked apart and unwinding now, 

me. 

Was it me 

who once fed rootless will and darkness, the hunger beneath the disfigurement, the tools of 

elongated language that corrupt certainty as we stepped off the margins of our days, together 

once on the sand beneath wind-spat umbrellas counting the clicks and uprising from the Pacific, 

Kenting’s calling late in the day, once our voice as blue and stormy as a varicose sky when the squall 

brew up a package of fear and returned four years later when death returned from its cocoon under 

the convex lights above my supine floating in the operation room, your ghost hand still warm 

in mine, you a corridor away as I counted backwards from 100, rounding numbers towarding 

oblivion, thinking that I would one day whisper to you, again blessed love, if I awoke from that 

sterilized theatre unseasonably cold against my skin’ distance’s touch old as my eyes folded down 

into the blasé of my waking and the counting, a body’s failure later exposed by a sterilized bone-saw 

as the manubrium broke open up as the sternum of a flower’s stamen & sepal on a warm late-April 

morning, but this was in truth only mid-March, our heart vegetation or our flesh flora or possibly, 

neither. 

Shall I bribe you with loneliness and defeat, dark and damp, or the emancipation of my body’s 

regeneration? 

As I lay 

once beneath the lights, a rain dance between raindrops, remembering when we galloped against 

one another in the backseat of your father’s car, humidity as kiss, falling stars as buttons uncurled, 

our fingers separated and your breasts awoke beneath the tremor of my unbuckled hope, in the 

night when we learned more of ourselves than all those drive-by stars, the charting mythology and 

rocket launches when we trapezed the fear and broke our lives toward light, mountain, macadam, 

a deer leaping in the ditch and our syllables as awkward as our fingers trembling, was that all a 

narcotically induced dream, merely metaphor 

or the body’s disfigured memory of this cloven life gnarled between the hemispheres of the heart 

and the imperishable four chambers of the slight-of-hand mind, mine 

or just the root thirst raven from the soil and nutrients, only 

life. 

There it goes, all 

every lit window dampened by breath and caress 

every dark bed cloth dried by press and unrest 

how many of us actually in the room that morning or in all the rooms since, 

how many of our bodies caress the moon with moonshine, how much desire or goodyear loss left 

how many of us now in the dramaturgy of life have we 

have we both learned this tumbling, together-- 

the persisting with a bag of coins brought back from the land of the temporarily dead, still 

countable. 

Ask the bootlegger and the apple trees reaching upon the holler listening to the tales and takeaways. 

Shall I feed you with loneliness and desire or the echo that scampers through the rooms of our life, 

renewed? 

Something that sits beneath the incision and the reckoning, the words we spoon feed each other to 

this day 

a god’s drunken smile burning the shelters of us both, a sun along the steep past 

the perishing, the resurrection and the refurbished quotidian, every moment of life at last, forever 

forward 

the living and the near-dead indivisible.

TANGENTS 

Wilson Tsang 

Out of the Window

Poem a Week 


Carless Driver 

the carless driver 

of our time 

keeps his bronzed eyes 

on the middle distance 

thinking he might see 

an automobile 

out there somewhere 

to which 

he might be 

happily welded 

Found photograph from the Gary Michael Dault exhibition, “I Used to Care but Times Have Changed” 

(Anna Leonowens Gallery, NSCAD University, June 30-July 11, 2015”).

CHEEZ 

Fiona Smyth

ART LOGBOOK 

Holly Lee 

9000 Paper Balloons, a poetic puppet performance by Maiko Kikuchi and Spencer Lott. 

https://ayaogawa.com/9kpb 

https://www.facebook.com/hereartscenter/videos/-9000-paper-balloons-now-dec-319000-paper-balloons-a-poetic-puppet-performance-b/404609521214499/

Caffeine Reveries 

Shelley Savor 

Love En Route

ProTesT 

Cem Turgay

Travelling Palm 

Snapshots 

Tamara Chatterjee 

India (December, 2016) – The repetitive 

geometric design carved deep into the earth’s 

surface was a spectacular sight. Although 

the green hue of the diminutive rainwater, 

marked the miraculous site of a bygone era. 

We arrived late in the afternoon at Abhaneri 

to explore the historical Chand Baori. To my 

surprise the moment of revelry came from 

happenstance; observing an old Hindu priest 

begin his daily rituals.

The Photograph 

coordinated by 

Kamelia Pezeshki 

All Roads Lead to Somewhere Montage No. 10, 2020 by Jim Hurtubise

https://oceanpounds.com 

New at Poetry section - 

New Look. More Content 

Gary Michael Dault: GERTRUDE STEIN DROPS HER 

AMBER-HEADED CANE (from Poems Without Point)

An excerpt from City Mirage Snow 

DOUBLE DOUBLE December edition 2022 

Holly Lee 

Six portraits 

(1993)

Six portraits 

For the most of us who were born around the fifties, the nineties in Hong Kong were the 

best of times. While worrying about the climate of the city’s future, people, inevitably 

had to move on. Everything was in motion; everybody worked enthusiastically toward 

identifying one thing or the other; Chinese, Hong Kongese, pre-colonial, post-colonial, 

and the degree of Britishness affecting and intervening ordinary people’s lives. For a 

moment, we did have a cultural identity crisis, and many cultural projects produced 

around that period reflected just that issue–who were we, how could we identify 

ourselves, as the people of Hong Kong. In 1993, I was invited to work on the third 

phase of a project curated and directed by Wong Wo Bik, namely A Metropolis: Visual 

Research into Contemporary Hong Kong 1990-1996. My contribution to the project 

was to take portraits of selected artists from different areas. Basically, we knew each 

other well because there weren’t many working in the arts and it was a small and 

tight-knit circle. However, they represented certain aspects of Hong Kong activities 

and creativity in the nineties, and were among the best in the art field. I photographed 

Mui Cheuk-Yin (choreographer/dancer); Zunzi (political caricaturist); William Tang 

(fashion designer); Yank Wong (painter); Tong King-Sum (sculptor), and Sunny Pang 

(dancer/choreographer). A little while ago, in the course of organizing some old 

pictures, I came across these six prints again, but found the portrait of Sunny Pang 

missing. But somewhere, I located that test strip. As a matter of fact, this series of 

portraits had never been officially exhibited. The 8x10 prints that I found, and on view 

here, were work prints for the publication documenting the Metropolis project–a book 

published in 1996 chronicling the face of Hong Kong in the nineties by over thirty 

photographers.

Mui Cheuk-Yin 梅卓燕 

(Dancer, Choreographer)

Sunny Pang 彭錦耀 

(Dancer, Choreographer, Performing artist)

William Tang 鄧達智 

(Fashion Designer, writer)

Tong King-Sum 唐景森 

(Sculptor)

Yank Wong 黃仁逵 

(Painter)

Zunzi 尊子 

(Caricaturist)

Take-Me from the Archival Bin 

This is an art-give-away program. 

In the past years, we have accumulated a 

certain amount of artifacts – from work prints, 

exhibition prints to test prints, etc. We set 

up this art-give-away program and hope 

some of these works can fall into the hands 

of their beholders. Though these items are 

free, we will require a shipping fee for each 

lot (US$18.00) in order to keep this project 

running. Delivery will be via mail system 

only (anywhere). 

First and foremost, this program is to benefit 

the PATREON members, furthermore, the 

readers of the MONDAY ARTPOST. We will 

post one lot every week on the last page of 

MONDAY ARTPOST, but, PATREON members 

will receive the notification one day in advance. 

To subscribe PATREON membership - 

https://patreon.com/DoubleDoubleStudio 

Every lot is one-off. Items will not be larger 

than 8x10 inch, condition is ‘as is’ and no 

additional information or description will be 

provided, we want to keep the operation as 

simple as possible. 

It is also a journey of gem discovery, the 

sweet reaping of one’s apple of the eye. 

ARTPOST contributors 

Cem Turgay lives and works as a photographer in Turkey. 

Fiona Smyth is a painter, illustrator, cartoonist and instructor in 

OCAD University's Illustration Program. For more than three 

decades, Smyth has made a name for herself in the local Toronto 

comic scene as well as internationally. 

http://fiona-smyth.blogspot.com 

Gary Michael Dault lives in Canada and is noted for his art 

critics and writings. He paints and writes poetry extensively. In 

2022, OCEAN POUNDS published two of his art notebooks in 

facsimile editions. 

Holly Lee lives in Toronto, where she continues to produce 

visual and literal work. 

en.wikipedia.org/wiki/Holly_Lee 

Kai Chan immigrated to Canada from Hong Kong in the 

sixties. He’s a notable multi-disciplinary artist who has exhibited 

widely in Canada and abroad. 

www.kaichan.art 

Kamelia Pezeshki is a photographer living in Toronto. She 

continues to use film and alternative processes to make 

photographs. 

www.kamelia-pezeshki.com 

Ken Lee is a poet and an architectural designer based in 

Toronto. He has been composing poetry in Chinese, and is 

only recently starting to experiment with writing English poetry 

under the pen name, “bq”. 

Lee Ka-sing, founder of OCEAN POUNDS, lives in Toronto. 

He writes with images, recent work mostly photographs in 

sequence, some of them were presented in the format of a book. 

www.leekasing.com 

Robert Black, born in California, is an award-winning poet 

and photographer currently based in Toronto. His work often 

deals with themes related to language, transformation, and 

disappearance. 

Shelley Savor lives in Toronto. She paints and draws with 

passion, focusing her theme on city life and urban living 

experiences. 

Tamara Chatterjee is a Toronto photographer who travels 

extensively to many parts of the world. 

(LOT 2023-0212) 140mm x 190mm, archival inkjet print. Use this link to make payment at OCEAN 

POUNDS for the shipping (US$18.00) https://oceanpounds.com/products/takeme2023-0212 

Wilson Tsang is both a visual artist and a musician from Hong 

Kong. To date, he has published two art books for children and 

four indie music albums.

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 0213-2023

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