MONDAY ARTPOST 0320-2023

MONDAY 

ARTPOST 

0320-2023 

ISSN1918-6991 

MONDAYARTPOST.COM 

Columns by Artists and Writers 

Bob Black / bq / Fiona Smyth / Gary 

Michael Dault / Holly Lee/ Kai Chan 

/ Kamelia Pezeshki / Lee Ka-sing / 

Shelley Savor / Tamara Chatterjee / 

Wilson Tsang / + Father, camera, 

postcard, and others (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

DOUBLE DOUBLE 

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 


City Mirage Snow 

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

The Fountain the Shop the Rhythmic Train 


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 

hong kong walk on / DOUBLE DOUBLE December edition 2022/ anothermountainman

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 

Istanbul Postcards (2021) / Holly Lee

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 

CODA / Lee Ka-sing

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 

art-give-away. 

This is a program for MONDAY ARTPOST readers and PATREON members. Every week, we will offer one piece of 

work (exhibition print, work print, test print) from the file of our previous Gallery, Studio, Print Program. You only have 

to pay a small flat fee for shipping and handling (US$18.00). Each lot is one-off. Delivery will be via mail system only 

(anywhere). More about this program - https://oceanpounds.com/pages/takeme 

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. 

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. 

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. 

(LOT 2023-0320) 140mm x 190mm, archival inkjet print. Use this link to make payment at OCEAN POUNDS for 

the shipping and handling (US$18.00) https://oceanpounds.com/products/2023-0320

Poem a Week 


After Raphael 

(specifically after Raphael’s “Portrait of a Lady with a 

Unicorn,” c.1505-6. Galleria Borghese, Rome) 

The lady holds a unicorn 

in the crook of her milky arm 

the unicorn is tiny 

green like an onion 

its horn a delicate twist of bone 

Nestled thus, corkscrew horn in air, 

the baby unicorn is warm as bread 

and free to remember meadows 

blooming with the Fleur-de-lye 

While for her part 

the lady, mistress of the momentary, 

is free to sense the draft of dreams 

beneath the keel of her decorous afternoon

Travelling Palm 

Snapshots 

Tamara Chatterjee 

India (December, 2016) – We walked the 

winding langur lined path towards “the most 

haunted site in India”. At Bhangarh; the 

scariest part for me was the battle cry of a 

hangry langur, swatting at me for getting too 

close without providing her just rewards. 

Symbolic of Hanuman or not, the ghastly 

beasts were better left to look at from afar.

Open/Endedness 

bq 不清 

鐘擺 

PENDULUM 

被刻意放逐的人造衛星 

再找不到土地了 

而世上最平庸的黃花卻依舊遍佈 

郊外地區 , 於你 

The satellite, to be exiled by design, 

Won’t seek land again. 

And the world’s most common yellow flowers however still spread 

Across the rural landscape, turning into 

開門的時候化作有色的風 

因為你真誠相信我們已經抵達 

新的時代 ; 因為你 

已無法集中精神 , 以潛入 

Coloured breeze when you open the door. 

For you truly believe we have arrived 

At a new era; for you 

Lack the focus, to sneak into 

相同的夢境 , 睡眠失去 

其時間性而我們所得到的 

報酬是這個能夠重新做人的機會 

圓形被重新繪畫出來 

The same dream. Sleep loses 

Its timeliness and our 

Compensation is the opportunity to start anew. 

After a circle is redrawn 

之後這個世界有了 

月亮、樹的年輪、露珠 

還有瞳孔 , 以及其 

從內而外的花花世界 

The world gains a 

Moon, tree rings, dewdrops, 

And pupils, as well as their 

Inside-out flowery worlds of temptations.

https://oceanpounds.com 

New Look. More Content 

Diptych Diary photograph at OCEAN POUNDS. 

updated few times a week

Caffeine Reveries 

Shelley Savor 

Orange Sky Guardian

ART LOGBOOK 

Holly Lee 

Noh. The Oldest Surviving Form of Theater (8:47) 

https://www.theatlantic.com/video/index/577531/noh-japanese/ 

Noh play “SUMIDAGAWA” -Sound of prayer cradled in sorrow- (3:26) 

https://www.youtube.com/watch?v=sNEMultObkY&list=RDsNEMultObkY 

Creative masks by Shuko Nakamura 

https://www.instagram.com/shuko.__.nakamura/

From the Notebooks 

(2010-2023) 


From the Notebooks, 2010-2023 

Number 170: Mountain Hotel (for Vladimir Nabokov), April 30, 2019.

TANGENTS 

Wilson Tsang 

Into the Garden

CHEEZ 

Fiona Smyth

Greenwood 

Kai Chan 

Study 

wood, wire, acrylic paint

Leaving Taichung 

Station 

Bob Black 

How We Imagine Ourselves, anew 

“…because silence and ash are straight paths…”--Mircea Cartarescu 

Through mirrors and ink 

flat muscled and honey tint 

the long tide in his eye, a silver hush-hush in her ear 

a loom secreting a torn thread shuttlecocked between 

toe and toe and tongue to tongue 

the food fingered in scoops 

their hearts light as grass, 

light lanterned and incontestable, their lives passed 

the flight around your mouth, a cosmos 

the memoir along your spine, a tributary 

how we imagined ourselves, renewed 

the expanse of syntax and its salvaging dredged up from the muck 

to shape the unshakeable silence 

death reveals itself in the hood of its shadow 

pilgrims penitent in their searching, we 

the lent light of the loss of things, voiceless

somnambulant lives, the threading that came before the palimpsest 

memory epigenetic in the family tree’s notebook 

the digging spirited them, forward 

gossamer in their limbs, scribbled in the searching 

the grief forever in the gaps bearing the frocks, underneath your heart unfurled 

brief how we imagine ourselves, anew 

illuminated in a draw a parchment and a name 

between the home and the hive 

the prosperity and the diminishing 

on the back of the wall the graffiti we drew from a forlorn lipstick canister 

remember 

when a single word was washed in rye 

charnels above and the constellation of erased notes, below 

the grammar and the forgetting and the kisses on the interstate 

the dew on the windshield in the April morning traced by her finger 

once our lives’ soiled with a single knuckle and a swipe, gone 

love letters leaned into the long distance lingering between our lips 

language swept up from the gutter and cornered behind the barbed wire 

awakened, the lanterns pressed hard against the children’s chests 

one day your illusions walked out the door and breath arrested, at 90 bpm 

the murmur in the garden dug up with a rusty green spanner 

the dress hung up in the kudzu by wind and wire 

lives kited far, away ran our love in the stone bed of the field 

you two held one another in the rising flood waters as a roof ran past burbling 

in the night you drew an amphitheater of tin rhyme and reason in the moonlight 

the rivers collapsed the beaver damns 

alluvial soil moved in the darkness under a stagnant moon 

your stories and hearts rang out like a chartreuse glass jar sharded under boot 

beneath our feet, the tide turned dark and life barked white 

and we turned toward Calypso 

generations met over grave and gravel, our blocks of named stone 

he turned east and she appeared west in the ebbing light 

they penciled the book of love from the alphabet of affliction and cartilage 

along the red clay road bird song ran 

silence lead to the path in the woods, 

memory bloomed as ash and the dust touched milkweed 

life altered the somber river, you the gateway ringing. 

For: Jack Burman, a friend and extraordinary artist

ARCHIVE.leekasing.com 

我想寫一個沒有標點符號的編年話本 , 你踏進來的時候也許剛才正是一個章回的段落 

a vertical story and the cross section 

(above) Father holding a movie camera (circa 50s). Postcard over-printed with poem fragment. 

(opposite page) Father taking a photo for the annual report cover, SINCERE Department Store (1980)

Father, camera, 

postcard, and others 

Lee Ka-sing

1

[Father holding a movie camera (circa 50s). Postcard over-printed 

with poem fragment.] 

In her fiction “The Fountain” (DOUBLE DOUBLE, January edition 2022), 

Holly embedded this postcard as part of the story on relationship, and she 

made a brief translation of this poem fragment- 

My father is a photographer 

He likes to catch a big half of a river 

at an instance 

upon which 

the walls of our house 

hung many streams 

that move, and don’t seem to move

2

[Father taking a photo for the annual report cover, SINCERE 

Department Store (1980)] 

Father was taking a photograph for SINCERE for their annual report cover. 

It was the 80th anniversary of SINCERE, the first Chinese department store 

in Hong Kong, founded in 1900. 

Staff from both the Hong Kong and Kowloon branches were requested to 

stand-in for this photograph, to form the big shape of an “80” sign. In this 

shooting section, I was being an assistant to my father, mainly, taking some 

back-up shots with a medium format camera, in case something unexpected 

happened. 

In 2011, I wrote in my blog about this picture, and also, on other occasions I 

assisted my father. 

( 香港點註腳集 ) 自從開始了自己攝影業務之後已很少有當父親的助 

手了 , 想來只得三數回。先施公司於 1900 年開業 ,80 週年的時候父親 

替他們拍攝公司年報封面。香港九龍先施的所有職員齊集在香港木球 

場 , 大家組成 80 字型拍一個合體照。馬氏的董事站在最前排。父親當 

時用的 LINHOF 4x5 大片幅照相機如今已歸我廄中所有 , 當然也包括 

了如 APO-LANTHAR 及 150mm XENOTAR 2.8 等中古名鏡好物。我負 

責的是在他右方用 HASSELBLAD 中片幅機同時進行幾下轉軟片按快

門等動作 , 這只不過是為主機假若有甚麼閃失時所作的一項保險耳。 

我替父親當助手最清晰而又矇糊的記憶應該是在六十年代 , 當時還是 

一名小學生。有一段時間幾乎每天都要往荷李活道一帶拍攝古董。有 

時從一個店子到另一個店子 , 我負責的不過是提拿裝著三腳架袋子而 

已 , 有時也會負責那個較重的革皮見方包子 , 包子裡面便是前面提到 

的 LINHOF 以及其他測光錶 , 膠卷 , 中片幅轉換匣等小物。古董店主 

人與父親的關係也變得如客戶如友的混雜。要是父親當時鍾情於文 

字 , 他大可寫一本像樣的好物過眼錄。那時候我對古物與攝影兩者都 

沒有產生感情 , 不過下意識裡被植入了甚麼抽象煙塵 , 還是後來才想 

出來的事。人也逃不出他過往吸過的空氣 , 今天吃的食物的別緻基因 

也令他將來與前人大異其趣。當我與黃楚喬的業務稍上軌道的時候 , 

父親已開始淡出攝影漸漸退休了。另一回我還能記起替他充當助手的 

是拍攝合和中心。我們要從港島山腰下望落成不久的合和中心 , 一幢 

60 多層的建築物。照片也要有它周邊環境 , 不然英雄從空間孤立下來 

也不外是一塊平面的三合土。這回拍攝卻用了我的 SINAR 8x10 大片幅 

機 , 我掌機。在一張 8x10 吋的底片 ,180mm 鏡頭剛好盡用了它所能及 

的涵蓋面。我們選了一天只有十來分鐘的「魔幻時刻」傍晚時分。拍 

攝是用來放成一張巨大的照片罝於某董事的辦公室內。主角不說了 , 

照片放大起來後 , 前排那幾座建築物室內卻明亮通透 , 飯桌沙發人物 

耍樂清晰得足以款款敘事。當時對於當代藝術的認識還是矇糊。要不 

然 , 那些關於照片與被攝物比例還原思考 , 超寫實極致描寫 , 或私生 

活內外張望等等問題 , 一定會成為工餘的附屬物。 

( 李家昇交換眼神筆記 , 2011)

3

LINHOF Super Technika IV 

The camera, father used for the SINCERE assignment, was a 4x5 LINHOF 

Super Technika IV. After he retired, I inherited the camera. In the DOUBLE 

DOUBLE February 2022 issue, I wrote about this camera. The original 

piece was written in Chinese, somehow there is a brief translation in 

English- 

From the early 60s to 90s, this might be the camera my father worked with 

most. I came back to live in Hong Kong in 1962, just as he started to set 

up his photography business. One evening, I saw him fiddling with this 

camera like a boy in front of a box of candy toys. I knew afterwards; the 

camera was given to him as a gift by his client, who noticed the inadequacy 

in his equipment. The client, who owned a large printing company, was a 

supportive friend. The camera was originally used by the company’s staff to 

take landscape photo-stocks for calendars, but is seldom in use anymore. 

Father bought his client friend a Rolleiflex in return. 

My father is a practical man. After he retired, he thought about selling off 

the LINHOF, for the sake of cleaning up the home space. I thought he wasn’t 

ready to devote an area for his long and compact memory trail. Why don’t 

you give it to me I said. And there you go - this LINHOF, with all its seven 

lenses, belongs to me now. 

My profession’s direction differs from my father’s, even though we were on 

the same boat - I mean photography. And also, we started at different points 

of time, despite using cameras from small to large formats, our equipment 

was not the same. I used SINAR for studio work. Actually, I already owned

three sets of SINAR, and all can be disassembled and recombined to 

perform under a modular system. I used the LINHOF once on assignment for 

a company’s brochure. That assignment needed black and white photographs 

taken with ultimate details, but the style had to look like hand-held candid 

shots. I used Apo-Lanthar, a very compact lens that came with the LINHOF, 

with an aperture full-opened. As my knowledge of lenses grew, I learnt that 

Apo-Lanthar was a very famous lens. It was manufactured with radioactive 

glass elements. Among the seven lenses that came with my father’s camera, 

two are big shots. 

We were in Peng Chau for a couple of years before leaving Hong Kong. On 

the island, I photographed with LINHOF for some personal work, though not 

much. Those transitional ten years were busy and crazy. As a matter of fact, 

some of my better-known photographs were embedded with materials taken 

with the LINHOF, only that they are not mentioned and scarcely detectable. 

從 60 年代初到 90 年代 , 這具應該是父親使用得最多的照相機。1962 年 

我回到香港不久 , 有天晚上看到父親在桌上把弄著這具照相機如糖 

心玩物 , 後來才知悉 , 此物是印刷公司客戶送他的。父親自立職戶 

不久 , 客戶見他工具不稱 , 便以公司閒著不用之器相送。後來父親 

買了一枚 Rolleiflex 回贈。父親倒也是一個實際之人 , 他退休後一念把 

此物賣掉 , 獃在家中落得一個不輕鬆。我說你就給了我吧 , 於是這具 

Linhof 便屬我所有 , 連同七管鏡。我與父親工作方向不同 , 也起點於 

不同年代 , 所用大中小片幅照相機相異。大片幅的工作 , 其實我已有 

三台 Sinar, 並且可以互相組合使用。這具 Linhof 在我的工作上只使用 

過一回 , 有次要拍攝一份公司形象冊子 , 包括公司各部落 , 開會及運 

作。黑白照片要活像順手拈來 , 又要兼具非常細緻描寫的方式。我用 

了隨機而來的那管 Apo-Lanthar, 所有照片光圈盡開。隨機而來的七 

管鏡物 , 其中兩枚份屬名品。這是物器知識不得全面的我後來才所獲 

悉。Apo-Lanthar 鏡片以放射性物料玻璃所製。我們離港前的幾年居 

坪洲 , 也用此機拍過一點非工作使用的照片 , 但是不多 , 那轉接的十 

年間要忙的事盡是。話雖如此 , 我的一些略較人知的照片其實有些底 

本材料是以此具 Linhof 所拍 , 只是不為人們所察而已。

4

Father pass away in Hong Kong, March 2022. 

I published a work in the April 2022 edition of DOUBLE DOUBLE, 

“Fragments on a Square Tabletop. Father in Toronto with us in 2019.” 

(eleven photographs) to memorize his last days with us. 

Father stayed with us for a whole year from 2018 to 2019. It was the third 

time he had stayed since we moved to Toronto. This time, we chat a lot.

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 0320-2023

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