MONDAY ARTPOST 0220-2023

MONDAY
ARTPOST
0220-2023
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 / Kathleen Hearn
/ Lee Ka-sing / Rita Camacho Lomeli /
Shelley Savor / Tamara Chatterjee /
Wilson Tsang / Yam Lau + Portrait Work,
circa 1988-89 (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 Fountain the Shop the Rhythmic Train
https://books.oceanpounds.com/2022/01/dd202201.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
https://books.oceanpounds.com/2022/05/dd202205.html
Hana Picnic Stones
https://books.oceanpounds.com/2022/04/dd202204.html
Terrain Little Red Riding Hood Rosetta
https://books.oceanpounds.com/2022/03/dd202203.htm
Donkey camera and auld lang syne
https://books.oceanpounds.com/2022/02/dd202202.html
Donkey camera and auld lang syne/ DOUBLE DOUBLE February edition 2022/
Bill Burns

Nancy & Sally
36 x 32 x 5 cm
balsa wood, rattan, dogwood, pine, acrylic paint
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
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
Kai Chan
Twenty Twenty An exhibition by Kai Chan
https://books.oceanpounds.com/2021/09/tt.html
2K 4.0 (Kai Chan + Lee Ka-sing)
https://books.oceanpounds.com/2022/10/2k40.html
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
2K 4.0 / Kai Chan

Calendar Beauty Vintage Calendar posters
from China
https://books.oceanpounds.com/2020/03/cb.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
CHEEZ 456/ Fiona Smyth

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
Time Machine/ Lee Ka-sing

Because of Satie.
Because of Yam. He
mentioned Satie in his
column, many stroke a
chord. One suggested,
let’s do something.
We respond to it.
oceanpounds.com/blogs/m/0130-2023

Kathleen Hearn
Threnody for an Amnesic, 2023

Greenwood
Kai Chan
“Bonjour Monsieur”
10 x 4 x12 cm , basal wood, dye, acrylic paint

Holly Lee
A dear friend gave her a cassette tape many years ago, labelled “Trois Gymnopédies & Gnossiennes”
by Erik Satie. Back then she did not know the composer nor the pianist. It was a CD her friend
reproduced from one of his vast vinyl collections. Not knowing the beautiful and varying implications
of the title, she was attracted to the simple, hypnotic music, its strength and rippling effect. Halfawake
and half-asleep, she heard the music playing; utterly immersed in a soothing and levitating
state. She began to travel, to breathe, seeing herself in different episodes; calm, blissful, frustrated;
sometimes grateful, and other times, unthankful. The subtle dissonances that seeped deep into her
memory slowly coalesced into strings of words, into characters that keep hitting the keys of her Yin-
Yan interior; back and forth back and forth, in a dialogue of two, exchanging glances, without saying
a word. (The book on the background “Selections from Ten Poets” 十 人 詩 選 , a Chinese book of
poetry published by Youth Literary Book Store in 1998, where my poem WHITE was featured. I wrote
this poem in 1986 as an impression, after Satie.)

From the Notebooks
(2010-2023)
Gary Michael Dault
July 1, 2013 (Erik Satie
died July 1,1925).
the head is still under the ice
the eyes are pearls
even underwater of death
these mischievous eyes
glitter like fishhooks
the future mocks the insider
the pilot fights back with
the blank pinpoint gaze
of the Perpetually Focussed
and the Always Unready

The drawing is titled “House For When I am Old”
and was drawn on July 16, 1987--when I was 47
years old.
I wanted to offer it now to the spirit of Satie--as a
“Gymnopedic House,” although he died too young
(in 1925 at age 59) to inhabit a house specifically
designed for Old Age. So far, the house has gone
unclaimed.
The marginal pencilled guides to the house
read (counterclockwise) “bathroom,” “elevator,”
“Plumbing,” “elevator shaft,” “vista,” “bedroom/
study” and “observatory/greenhouse/reading.”
The house is a reduction of Satie’s infamous and
gloriously hypothetical Ivory Staircase “with its more
than one thousand steps”--a veritable stairway to
paradise (see Satie’s “Marche du Grande Escalier”
from his Enfantillages Pittoresques,1913).
To the composer of Socrate!
Gary Michael Dault

Open/Endedness
bq 不 清
死 了
DEATH
穿 越 過 量 的 脂 肪 而 毫 無 感 覺
我 們 無 法 記 起 窮 瘠 的 往 事 , 故 此
我 們 持 續 矯 揉 造 作 , 赤 裸 上 身
徘 徊 於 非 泳 灘 的 場 所
繼 續 自 言 自 語 , 如 那 三 位
來 自 斯 巴 達 的 青 少 舞 者
他 們 並 肩 而 立 於 一 輛 鑲 滿 鏡 子 的
酒 店 升 降 機 裡 , 欣 賞
薩 蒂 的 裸 體 音 樂 並 且 最 終 意 識 到 他 們
無 法 成 為 對 方 的 圓 心
他 們 知 道 , 當 精 明 的 人 聚 在 一 起 的 時 候
會 以 頓 然 變 得 笨 拙 為 由
在 科 幻 電 影 裡 爭 奪
統 領 宇 宙 的 權 利 。 他 們 將 會
重 新 執 行 中 世 紀 的 刑 法
強 迫 犯 人 戴 上 動 物 面 具
遊 街 , 讓 禽 獸 在 鐵 籠 以 外 觀 賞
他 們 尷 尬 的 步 姿
而 事 發 之 後 他 們 為 事 情
致 歉 並 感 謝 那 些 不 再
追 究 的 人 。 這 是 我 所 知 道
最 文 明 的 生 活 方 式 了 ——
到 鄰 近 剛 開 張 的 炸 雞 店
排 隊 , 我 們 等 待 寂 寞
到 來 而 同 時 又 寂 寞 地
期 待 熟 悉 的 面 孔 在 人 海 中
穿 插 , 然 後 又 分 道 揚 鑣
Passed through excessive fat and felt nothing,
We couldn’t recall our very lean pasts. As
Such we remained cheesy, went topless and
Wandered in places that were not beaches,
Soliloquizing on, like those three
Teenage dancers from Sparta who
Stood side by side inside a hotel elevator
Studded with mirrors, listening to
Satie’s Gymnopédies, and finally realized they
Couldn’t be each other’s circumcenter.
They knew that when astute people got together,
They could use their unexpected clumsiness as an
Excuse to win in sci-fi movies
The right to rule the universe. They would
Reimpose the criminal laws of the medieval times,
Forcing prisoners to march down the streets
In animal masks so that beasts outside their cages
Could watch their awkward gaits.
And after the incident, they apologized for what
Had happened and thanked those who wouldn’t
pursue the matter. This is what we know of
The most civilized way of life —
Going to the new fried chicken restaurant nearby
And queuing up. We wait for loneliness
To arrive, and at the same time, lonesomely
Expecting familiar faces to run
Into us, to turn around, to go our separate ways.

TANGENTS
Wilson Tsang
(top) “The Naked Youth”
(which is based on gymnopedie, a translation of the Greek word describing a yearly festival at which young
men danced naked)
(below) “Vexatian”
(inspired by another piano piece of him named Vexation)

The Photograph
coordinated by
Kamelia Pezeshki
Jeannie just sent it this morning, I’ve been listening to Satie and for
me this photograph is like his music, soothing. (Kamelia Pezeshki)
Phosphorescence, cyanotype by Jeannie Hutchins

Yam Lau

Rita Camacho Lomeli
These gifts to Satie are part of an architecture
with invisible walls and ceilings. Through
the repetitive enactment of redrawing a white
surface and revealing an almost imperceptible
shape, these uninflected boundaries persist
for a constant awareness of ambient light and
shadow. They are clothed by thin air, aiming
for an ideal symbiosis with the composer’s
aesthetic sonic objective for austere simplicity
and sparseness.

Leaving Taichung
Station
Bob Black
Mamihlapinatapai, blues
“in the midst of my,
to you, Shadow, burdensome,
Speech.”—Paul Celan
No. 1
Imagine if
music sang as a masquerade
a September night rang at November’s door, intemperate in degree and measure
the voice-spun sky was a finger poked glance in the passenger window of a darting taxi
and in the dark, you turned a corner and fell,
as time broke out into a fight in the subway like two elk colliding chest to feverish chest
the world of words, the well-dressed cadences
the dispassionate spit, the fetal clamor in expensive suits
the studded straps of night and the rapping trees, nightly gone,
all of it, gone.
Imagine if
the blue lit apartment light in the corner suit was an extra set of eyes
the car lights weaving up the long boulevard outpaced the old man’s newly polished set of teeth
the wind an extra set of arms,
your voice filled by the body gone missing in the lake
another’s voice filled by the meandering return
this too imagine, gone.
*Author’s note: The word mamihlapinatapai is derived from the Yaghan language of Tierra del Fuego,
listed in The Guinness Book of World Records as the “most succinct word”, and is considered one of
the hardest words to translate. It has been translated as “a look that without words is shared by two
people who want to initiate something, but that neither will start” or “looking at each other hoping
that the other will offer to do something which both parties desire but are unwilling to do”
A romantic interpretation of the meaning has also been given, as “that look across the table when two
people are sharing an unspoken but private moment. When each knows the other understands and is
in agreement with what is being expressed. An expressive and meaningful silence.”
This poem was written over the last 2 weeks as an Ode to Erik Satie’s piece GNOSSIENNES, which
has 6 parts and a kind of coda. The poem was specifically about the piece and my own understanding
of the meaning of the work and what it evokes.
I hope an understanding of Satie or his work is not necessary to enjoy the poem.
thank you
Bob
Beneath the wing of the clipped church balustrade, you pointed toward a verse of light and remained
mute but bewildered.
No.2
Do you remember,
his voice filled by the backbite of your body beckoning,
beloved tales steep upon a return,
the chronic fever of the land she carried between her teeth
the tributaries lit on the snow hill, falling
the sky uncloaked and split,
two boys stumbling over one another on a verdant hill
an owl galloped over them in wing upon the clawed upon sky
there you were, both, grasping
and how have you, since, calendared the unlocking of your days?
that for a moment caught fire in your disappearing.
Do you remember,

November’s vexatious sky, croquis et agaceries
the ongoing longingness of things, the lift and the leverage of love, born nodding
the knotting of wrists and the notes snug, lacrimal along leonine scars, breathing.
Do you remember,
the sharp chord of your amalgamation
the sentence that rivers as long as the curve of your index finger
stretching in the morning toward the green clover tongued by a fox and fog,
she once held breathing,
the match struck against the pane upon
the shadow eluded and the name
do you remember the why sky and white gourd, gone.
Beneath the wing of the clipped church balustrade, you pointed toward a verse of light, going
No. 3
Imagine then contamination
light flushed upon skin as water pink’d upon the bone of paper
nick of time and spine of weather, stained,
the alphabet’s ligament and line
all that once left to vanish
the hunger and contained
a palimpsest upon which an arrangement of bound-buckets remain
bricks and mortar, the order we uttered gone.
Beneath the wing of the clipped black
No. 4
Do you remember
the world’s lubricious leveling, when the sky revoked colors,
when the sky was blushing and you reached into the cold stream
your skin alphabetized stones as nations
the weather thrushed the as you lay on the embankment’s table
the shield of your crackling body upon the grass
a divestment, benighted and the day tugged upon your soften’d self,
pithy as memorizing lips,
concomitant and coiled.
Do you remember
who twined from your ribs, your heart the spinning architecture’s eventide,
the day wrapped neatly with ligature and spun
the seasons curled up in the back of your throat
the tooth-gap space counting a mouthful of ok’s slipped through
the space parsing them from you,
the music and lights wintering, the bones orchestrating
the world’s cantor and hearts go running as leaves scratching in the ditch,
ghost stories from the songs once lived
the only voice in your body was the spin and hum of the world
phantoms and a graveyard’s story spilling out the whiskey glass let dropped on the stones
and in the end
you lived in winter full-bellied and wobbled
spacing hope toward home
Imagine if beneath the wing of the clipped church balustrade, you cuddled
No. 5
Imagine if
it is autumn and there the separating and tugging and it is autumn and it is each of us and it is we of
flight,
it is autumn and there, gone and tagging, do you remember?
Imagine if beneath the wing, nothing not even air
No. 6
Imagine if
the throat of a wolf, long ago wintered from the wind, the color of lost bodies
the color of your eyes wading far into the sea, shore break and loss,
your children in the dark recesses of the bramble and cave, light spiders in and the moon threads a
silver’d path,
your limbs carve constellations into the chest of the sky and there you are both waking,
do you remember, this?
Do you remember
the mantis shell left as a transparent shirt on the green branch,
the white paper stronger than the predation of life, the devotional singing of the Shadow,
the space between the pulled bark parsing me from you
when once we lay in the quiet night reciting snow upon our lips and all you spoke was gone
my head and heart from the moiety and circumference, Copernicus and you, bewildered
our notes and 88 heart keys, gone.
Do you remember we were of flight in ivory and ebony spruce.
No. 7: Coda
along the sea, trees taught flower to stone
the land born fecund with opossum and beetle bone
the heart left behind the cicada’s shell into the side of a tree, a thumbprint of time
and the tempo rescued from the lumber, sand and swamp
loss lead us home to our watery self, together and at last alone.

Travelling Palm
Snapshots
Tamara Chatterjee
France (March, 2022) – Trying to find
inspiration in this week’s theme, I found
myself listening to Erik Satie’s: Gymnopédies.
It reminded me of a calm spring afternoon;
meandering along the banks - waltzing
through the city’s green spaces, entangled in
its musical architecture. The dreamy melodic
notes; whispering sweet fantasies - an absurd
opposite of the music’s title reference...
Sparta!!

Caffeine Reveries
Shelley Savor
Satie’s Home Walks Slowly

https://oceanpounds.com
New Look. More Content

ProTesT
Cem Turgay

ART LOGBOOK
Holly Lee
The Final Days of Georgian Nomads. Photographs by Natela Grigalashvili, interview by Misho Antadze
https://www.lensculture.com/articles/natela-grigalashvili-the-final-days-of-georgian-nomads

CHEEZ
Fiona Smyth

Poem a Week
Gary Michael Dault
The Window (for H.M. Tomlinson)
would it be possible
to get a glimpse of the sea?
could you open
that anise window?
there’s already a dab of light
on my spoon
there is a stormy ladle
on the sideboard
grey with old lightning
the door rattles
with each pull
of breaking surf
I don’t want much
just a glimpse
of the red rooster moon
on a straw cloud
high over the bay
no ships left
just the sound of
fat rivets letting go
Note: H.M.Tomlinson (1873-1958) was a British novelist and travel writer
whose books about the sea and the futility of war I greatly admire. My
favourites among his books are Gallions Reach (1927), All Our Yesterdays
(1930) and The Snows of Helicon (1933).

ARCHIVE
Lee Ka-sing
Chang Chao-tang 張 照 堂 ,Antonio Mak 麥 顯 揚 ,Taipei 1985
(opposite page) Antonio Mak 麥 顯 揚 ,Taipei 1985
From https://archive.leekasing.com and https://c.leekasing.com

Holly Lee
Portrait Work
(circa 1988-89)

Portrait Work
(circa 1988-89)
I love large format portrait photographs. There is no randomness about it and therefore
possesses some predictability in nature. One can always count on to obtaining a fine
picture. A precise frame with selected setting. It also reveals the relationship between
the sitter and the image maker, the level of comfortableness and trust, with one putting
forward the most genuine, and best-in-appearance self, the other, doubting every
second the ability to capture that magic instance hundred percent.
After almost ten years beginning and engaging in commercial work, I started to miss
the black and white portrait series I did years ago (Pictures of Friends, Artists and
People I Know). I went back to work on more, but ended up just a few, of family and
friends.

Iris Lee 李 思 菱 , my daughter at the studio on No. 3 Castle Road
11x14 inches, vintage fibre-based gelatin silver photograph, contact from 8x10 negative

Lau Kin-Wai 劉 健 威 and Leung Mei-Sang 梁 微 生 at home
11x14 inches, vintage fibre-based gelatin silver photograph, contact from 8x10 negative

Tommy Li Kam-Fai 李 錦 煇 with brother, at the Illustration Workshop
11x14 inches, vintage fibre-based gelatin silver photograph, contact from 8x10 negative

Kwan Mong-Nam 關 夢 南 at home
Direct scan from 8x10 negative

Kwan Mong-Nam 關 夢 南 at home with wife
Direct scan from 8x10 negative

Three sisters (Kwan Mong-Nam’s daughters)
Direct scan from 8x10 negative

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
Kathleen Hearn is a Toronto-based visual artist and educator. Her
practice involves long-term negotiations, collaborations and cooperations,
often working with teens to give voice to their own
representations.
www.kathleenhearn.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
Rita Camacho Lomeli is a multidisciplinary artist and educator based
in Toronto. Her work reveals the contemporary condition of objects and
spaces. She makes drawings, print works, and installations.
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.
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.
(LOT 2023-0220) 140mm x 190mm, c-type photograph. Use this link to make payment at OCEAN
POUNDS for the shipping (US$18.00) https://oceanpounds.com/products/2023-0220
Yam Lau, born in British Hong Kong, is an artist and writer based in
Toronto; he is currently an Associate Professor at York University. Lau’s
creative work explores new expressions and qualities of space, time and
the image. He is represented by Christie Contemporary.

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