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<strong>MONDAY</strong><br />

<strong>ARTPOST</strong><br />

<strong>2023</strong>-<strong>0605</strong><br />

ISSN1918-6991<br />

<strong>MONDAY</strong><strong>ARTPOST</strong>.COM<br />

Columns by Artists and Writers<br />

Bob Black / bq / Cem Turgay /<br />

Fiona Smyth / Gary Michael Dault<br />

/ Holly Lee / Kai Chan / Kamelia<br />

Pezeshki / Lee Ka-sing / Shelley<br />

Savor / Tamara Chatterjee /<br />

Tomio Nitto / Wilson Tsang /<br />

+ OP Edition: Leung Chi Wo<br />

<strong>MONDAY</strong> <strong>ARTPOST</strong> published on Mondays. Columns by Artists and Writers. All Right Reserved. Published since 2002.<br />

An Ocean and Pounds publication. ISSN 1918-6991. email to: mail@oceanpounds.com

Starts from this week, read your<br />

<strong>MONDAY</strong> <strong>ARTPOST</strong> at this new address:<br />

m.oceanpounds.com<br />

Get new issue notifications, follow us on<br />

these social media platforms:<br />

facebook.com/oceanpounds<br />

twitter.com/ocean_pounds<br />


ReAttendance Of Space<br />

an exhibition by Bill Grigsby<br />

Passionate engagement and spatial relationship incidentally<br />

arranged with more left turns than a doorknob! Words and pictures<br />

to look at. “An Allegory of The Spiritual Adventure of The Full Conscious<br />

Person Into Modern Life“ Tennesse Williams, Dec 4, 1949<br />

50 Gladstone Avenue artsalon in Toronto<br />

On view from May 27 to June 17, <strong>2023</strong><br />

visit by appointment (mail@oceanpounds.com)

Hong Kong Memories<br />

a suite of vintage inkjet prints<br />

an exhibition by Holly Lee<br />

June 24 to July 29, <strong>2023</strong><br />

50 Gladstone Avenue artsalon<br />

visit by appointment<br />


Leung Chi Wo<br />

Untitled<br />

8x10 inch, Gelatin Silver Print<br />

Number 19/20, OP Edition<br />

Signed and numbered on verso<br />

As the practice of collecting photographs picked up<br />

steam by 1994, the push motivated us to establish<br />

a system for people to interact, exchange, acquire<br />

and collect photographs. We set up The Original<br />

Photograph Club that year and created a print program<br />

called the OP Print Program. Ka-sing and I co-curated<br />

the project and attended all administrative and<br />

organizing work. It would be a quarterly program, each<br />

quarter of the year would feature ten photographers’<br />

work. All participants would be required to contribute<br />

an image with 20 editions, printed in the size of 8 by<br />

10 inches. These prints we referred to as OP Editions.<br />

DISLOCATION 1992-1999, and Beyond. [The OP Print Program<br />

and OP Editions, 1994-1999], Holly Lee

Poem a Week<br />

Gary Michael Dault<br />

Cushions or Luxury’s End<br />

cushions<br />

under our thighs<br />

conduits<br />

at our feet<br />

necklaces<br />

of bone and grind<br />

of sour skin and spiky rind<br />

sneezing<br />

at our neighbors<br />

dancing<br />

on the heat<br />

bracelets<br />

made of earth and seed<br />

ringlets of erotic need<br />

lying in the street

Diptych Diary<br />

Lee Ka-sing

Caffeine Reveries<br />

Shelley Savor<br />

City Storm Guardian<br />

Shelley Savor’s work and book at OCEAN POUNDS<br />


Leaving Taichung<br />

Station<br />

Bob Black<br />

阿 飛 正 傳<br />

1989 — <strong>2023</strong><br />

In April of 1989, I was living in Providence, Rhode Island and working as a speech writer. I was<br />

23 and the world was abloom where everything seemed possible, the books to read, the poems and<br />

stories to write, the lips to kiss, the stories to swallow, the lives to enter and the places to go. At 23,<br />

everything was infinite and possible, everything but death.<br />

I had moved to Providence to support my youngest brother financially after having enrolled in the<br />

Rhode Island School of Design to study painting. At the time, I had fallen in love with a painter from<br />

Korea whose stories about her relationship with her high school English teacher drew me into a world<br />

I could not have imagined at the time and though my own life had been an interesting and peripatetic<br />

one, I yearned for the world away from the usa.<br />

1988 had been a tinderbox for flight: I’d watched with my brother the Korean Olympics in October<br />

and hungered for Asia, not having been back to Taiwan or Hong Kong since I was a kid; I started rereading<br />

everything by 北 島 whose poetry I had fallen in love with in university and whom I had met.<br />

I knew he’d return to China with his wife and daughter and that he had worked on a petition calling<br />

for the release of pro-democracy activists like Wei Jingsheng.<br />

I also lost my heart to Gong Li in Red Sorghum and then watched one Chinese film after another:<br />

Yellow Earth, King of the Children, The Horse Thief and others and I realized I had to go to China<br />

and so I applied to teach English in Beijing and was accepted and started to plan to leave Providence<br />

and my job as a speech writer and re-learn Mandarin and then came May, my birthday, and then the<br />

天 安 門 廣 場 的 絕 食 四 君 子 (Tiananmen Four Gentlemen Hunger Strike) and then like so many of<br />

us watched on CNN the horror that was unfolding in front of us and my heart sank and my life was<br />

turned upside down.<br />

Death and destruction had come. Spring was gone.<br />

The tanks and the brave man who stood in front of them risked everything and the world changed and<br />

thousands of lives were lost and China and the people were never the same again.

My appointment was rescinded and I stayed in Providence as history fell apart: first China…and then<br />

the Caribbean and then Poland and Czechoslovakia and then Berlin…and history began to fall, brick<br />

by brick and all but in China, it seemed as if the urgency of democracy and human rights were at the<br />

fore and a year later I left for Prague to teach English to students who were older than I was, some of<br />

whom hadn’t celebrated birthdays or anniversaries since the Prague Spring in 1968 and I forgot about<br />

China and turned toward life in Eastern Europe…and then to Hong Kong and I started to write the<br />

poems that would make up my first book.<br />

I later burned them after the death of a dear friend from Hong Kong.<br />

Now, this June 4th, <strong>2023</strong>, 34 years later, I am a different man, a different writer and China is a<br />

different nation in so many ways and so much the same in others: the heart of the Chinese people for<br />

life without oppression still writes poems on the walls and the government still oppresses and jails<br />

her citizens and nothing we have done seems to have rid the men in charge and every night before<br />

and through the night I hold a vigil of sorts: a few times in Hong Kong, once in Taipei, several times<br />

in Toronto and New York and tonight, once again.<br />

This year instead of a candle, I danced: to feel my body ache with sweat and music, to free my head<br />

from the hurt that comes every June, feed memory with heartbeat and in solidarity with those still<br />

struggling<br />

wrote poems with my body instead in a darkened room, spoke with gestures in the air through the late<br />

night with my partner, a woman from Taiwan, as we swayed beneath the red lights and the ephemeral<br />

and for a few hours, there was nothing but music and love and embodied sound and the night for<br />

once seemed infinite and we moved into the light from the shadows and there was life and there was<br />

cadence and language was replaced by unthinking and we knew again one day there would be bliss<br />

and we all would be free.<br />

阿 飛 正 傳<br />

our days of being wild, again.<br />

this reflection was first published on June 4th in Cha Asian journal. my gratitude to the editors


Wilson Tsang<br />

The Joke

CHEEZ<br />

Fiona Smyth<br />

Fiona Smyth’s work and book at OCEAN POUNDS<br />


Sketchbook<br />

Tomio Nitto

The Photograph<br />

coordinated by<br />

Kamelia Pezeshki<br />

Old garden rose by Kamelia Pezeshki


Holly Lee<br />

An intimate glimpse at North America’s Eastern Hellbender, an ancient salamander that<br />

lives as much in myth as in reality.... and in many waters, myths are all that remain of<br />

these sentinel stream-dwellers. Image from Freshwaters Illustrated. Photographer David<br />

Herasimtschuk<br />

https://www.davidherasimtschuk.com/hellbenders<br />

(Use arrow to navigate. Roll over to the lower left for picture captions)

Open/Endedness<br />

bq 不 清<br />

粽 子<br />

有 一 點 是 肯 定 的 , 雨<br />

落 地 之 後 便 失 去 了 其 意 義<br />

他 們 的 焦 點 將 從 完 成 式<br />

回 到 現 在 直 到 黑 雲 完 全 散 去<br />

可 是 又 有 誰 真 正 目 睹 雲 朵<br />

因 為 雨 盡 而 徹 底 消 失 ?<br />

我 正 想 起 一 座 只 發 單 音 不 能<br />

奏 出 孤 獨 感 的 鋼 琴<br />

這 裡 有 好 多 黑 鍵<br />

或 高 或 低 但 又 永 遠 凸 出 來<br />

令 初 學 者 不 知 所 措 之 餘<br />

又 同 時 使 人 好 奇<br />

就 像 春 天 於 北 極<br />

在 漫 長 的 光 明 中 寒 冷 著<br />

而 我 們 不 需 要 聖 誕 節<br />

也 能 誦 唱 一 曲 平 安 夜 了


One thing is sure. Raindrops<br />

Lose their meanings after they land on the ground.<br />

Their focus is back to the present from the finished<br />

State until all dark clouds have fully dispersed.<br />

But who has witnessed the disappearance of<br />

Clouds at the end of a storm really?<br />

I am thinking of a piano that only produces a single note<br />

And thus cannot perform the notion of loneliness.<br />

Lots of black keys are here,<br />

Highs and lows, and always protruding,<br />

Making beginners uncomfortable but<br />

at the same time curious about the situation.<br />

A situation like spring in the North Pole.<br />

It’s cold under this lengthening brightness.<br />

And we don’t need Christmas<br />

to be singing Silent Night.

Travelling Palm<br />

Snapshots<br />

Tamara Chatterjee<br />

France (March, 2022) – A little creepy, a<br />

little eerie and out of the normal comfort<br />

zone, the Natural History museum and its<br />

famed collection of bones is a marvel to<br />

explore. The galleries have glass windows<br />

which allow a luminous light to magnify some<br />

rather haunting skeletal shadows. Entry into<br />

mammalia begins with human anatomy and<br />

ends in dramatic fashion with a blue whale<br />

carcass. My favorite section though is the glass<br />

ceiling gallery, and its skeleton collection of<br />

monstrous beasts and outrageous fossils.

TERRAIN the collaboration project,<br />

Gary Michael Dault writes haiku as a<br />

response on Lee Ka-sing’s photograph.<br />

It was originally started in 2022, and<br />

was picked up again in April <strong>2023</strong>,<br />

and published at oceanpounds.com<br />

as a daily updated column.<br />

Included in this volume are the first fifty pairs.<br />

Ka-sing’s photographs were<br />

taken in between 2021 to <strong>2023</strong>.<br />

TERRAIN, one<br />

by Lee Ka-sing and Gary Michael Dault<br />

116 pages, 8x10 inch, available in hardcover and ebook editions<br />

View complimentary copy in full version:<br />


ProTesT<br />

Cem Turgay

From the Notebooks<br />

(2010-<strong>2023</strong>)<br />

Gary Michael Dault<br />

From the Notebooks, 2010-<strong>2023</strong><br />

Number 181: Der Rosenkavalier (The Metal Flower), March 24,<br />

2014.<br />

Gary Michael Dault’s work and books at OCEAN POUNDS<br />


Greenwood<br />

Kai Chan<br />

Drawing<br />

ink on tracing paper<br />

Kai Chan’s work and books at OCEAN POUNDS<br />


DIGI (1994-1996) is an extension to the last issue “DISLOCATION<br />

1992-1999, and Beyond”.<br />

DIGI zine was a side-track in the course of our publishing venture.<br />

It was attached to the PHOTOART, in the last section as part of<br />

the contents. An additional print-run of 500 copies was printed<br />

as an independent publication–in the exact manner as we did for<br />

DISLOCATION in PHOTO PICTORIAL. In total, thirteen issues of<br />

DIGI were published from 1994 to 1995, with the last issue coming<br />

out in 1996.<br />

In this issue of DOUBLE DOUBLE, we reproduced the thirteen<br />

issues of DIGI zine as a complete volume facsimile edition.<br />

The original DIGI zine is in the format of 8.5x11 inch, 16 pages.<br />

Each issue had a 500 print-runs.<br />

DOUBLE DOUBLE April/ May edition <strong>2023</strong><br />

DIGI (1994-1996)<br />

232 pages, 8x10 inch, ebook and paperback editions<br />

Read-on-line edition for PATREON members<br />


DOUBLE DOUBLE February/ March edition <strong>2023</strong><br />

女 那 禾 多 DISLOCATION (1992-1999), and Beyond<br />

340 pages, 8x10 inch, ebook and hardcover editions<br />

Hardcover edition available at Blurb (CAD$125)<br />

https://www.blurb.ca/b/11543683-dislocation-1992-1999-and-beyond<br />

ebook edition (PDF download, US$10)<br />

https://oceanpounds.com/products/dislocation<br />

Read online the complimentary copy in full version<br />

https://books.leekasing.com/1992/01/dislocation.html<br />

THE LIFE OF A PUBLICATION, written by Holly Lee<br />

(the main article in 21 segments)<br />

• It began with Lee Ka-sing’s two photo columns in the mid-eighties<br />

• Seeded by a studio promotional publication: WORKS MAGAZINE (1988-89)<br />

• And it began, with a transparent and translucent journey (NûNaHéDuo ZERO and GLASS issues)<br />

• The first year<br />

• NûNaHéDuo 1992-1995. 48 issues, 4 annuals and an index issue<br />

• Fair Deal. A playground at the backyard<br />

• Free-wheeling and Seeding<br />

• The OP Print Program and OP Editions (1994-1999)<br />

• The second stage (1996-1998), a new format<br />

• The idea of Three: Beijing, Hong Kong and Taiwan<br />

• DIGI zine, a side track<br />

• OP fotogallery and NCP–the NûNaHéDuo Centre of Photography<br />

• A tale of the other city, the OP fotogallery in Toronto (2000-2005)<br />

• Closing of the second stage of NNHD 1999<br />

• This side towards lens, FOTO POST and ebooks<br />

• DISLOCATION as an ebook, Volume 14<br />

• Landscape in flux. The Missing Volume 15, Geography issue<br />

• The Second Life of DISLOCATION<br />

• Recapturing time<br />

• Thirty years<br />

• The Unfinished. Hong Kong Streets issue

Leads to the Books published<br />


The Air is like a Butterfly<br />

https://books.oceanpounds.com/2021/07/tab.html<br />

<strong>ARTPOST</strong> contributors<br />

Cem Turgay lives and works as a photographer in<br />

Turkey.<br />

DISLOCATION (1992-1999), and Beyond<br />

books.oceanpounds.com/<strong>2023</strong>/04/dislocation.html<br />

Poetic Liaison<br />

books.oceanpounds.com/<strong>2023</strong>/02/poetic-liaison.html<br />

City Mirage Snow<br />

http://books.oceanpounds.com/2022/12/cms.html<br />

The Painter The Photographer The Alchemist<br />

http://books.oceanpounds.com/2022/12/ppa.html<br />

The galloping jelly pink horse with pea green spots<br />

http://books.oceanpounds.com/2022/10/phgs.html<br />

Reality Irreality Augmented Reality<br />

http://books.oceanpounds.com/2022/10/rar.html<br />

The Book The Reader The Keeper<br />

https://books.oceanpounds.com/2022/09/dd202208.html<br />

Still Life Still A Book of Vessels<br />

https://books.oceanpounds.com/2022/09/bv.html<br />

The Book of The Poem<br />

https://books.oceanpounds.com/2022/08/bp.html<br />

The Nearby Faraway Small Paintings on Cardboard<br />

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

DOUBLE DOUBLE Box in a Valise a close-cropped<br />

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

DOUBLE DOUBLE Box in a Valise on-site<br />

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

Twenty Twenty An exhibition by Kai Chan<br />

https://books.oceanpounds.com/2021/09/tt.html<br />

2K 4.0 (Kai Chan + Lee Ka-sing)<br />

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

Fiona Smyth is a painter, illustrator, cartoonist and<br />

instructor in OCAD University's Illustration Program.<br />

For more than three decades, Smyth has made a name<br />

for herself in the local Toronto comic scene as well as<br />

internationally.<br />

http://fiona-smyth.blogspot.com<br />

Gary Michael Dault lives in Canada and is noted for<br />

his art critics and writings. He paints and writes poetry<br />

extensively. In 2022, OCEAN POUNDS published two<br />

of his art notebooks in facsimile editions.<br />

Holly Lee lives in Toronto, where she continues to<br />

produce visual and literal work.<br />

en.wikipedia.org/wiki/Holly_Lee<br />

Kai Chan immigrated to Canada from Hong Kong in<br />

the sixties. He’s a notable multi-disciplinary artist who<br />

has exhibited widely in Canada and abroad.<br />

www.kaichan.art<br />

Kamelia Pezeshki is a photographer living in Toronto.<br />

She continues to use film and alternative processes to<br />

make photographs.<br />

www.kamelia-pezeshki.com<br />

Windmills Fields and Marina<br />

http://books.oceanpounds.com/2022/07/wmf.html<br />

Island Peninsula Cape<br />

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

The Fence the Garden the Connoisseur<br />

https://books.oceanpounds.com/2022/05/dd202205.html<br />

ana Picnic Stones<br />

https://books.oceanpounds.com/2022/04/dd202204.html<br />

Terrain Little Red Riding Hood Rosetta<br />

https://books.oceanpounds.com/2022/03/dd202203.htm<br />

Donkey camera and auld lang syne<br />

https://books.oceanpounds.com/2022/02/dd202202.html<br />

The Fountain the Shop the Rhythmic Train<br />

https://books.oceanpounds.com/2022/01/dd202201.html<br />

Nine-Years<br />

https://books.oceanpounds.com/2020/02/ny.html<br />

Istanbul Postcards<br />

https://books.oceanpounds.com/2021/07/ip.html<br />

Calendar Beauty Vintage Calendar posters from<br />

China<br />

https://books.oceanpounds.com/2020/03/cb.html<br />

Libby Hague Watercolours<br />

https://books.oceanpounds.com/2022/11/lhw.html<br />

The Diary of Wonders<br />

https://books.oceanpounds.com/2021/10/dw.html<br />

CHEEZ 456<br />

https://books.oceanpounds.com/2022/05/c456.html<br />

Mushrooms and Clouds but no Mushroom Clouds<br />

https://books.oceanpounds.com/2022/09/mcmc.html<br />

CODA<br />

https://books.oceanpounds.com/2022/12/coda.html<br />

Diary of a Sunflower, Book Two<br />

https://books.oceanpounds.com/2022/12/ds.html<br />

Eighty Two Photographs<br />

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

Time Machine<br />

https://books.oceanpounds.com/2021/12/tm.html<br />

Songs from the Acid-free Paper Box<br />

https://books.oceanpounds.com/2022/10/sa.html<br />

Songs from the Acid-free Paper Box<br />

Museum edition<br />

https://books.oceanpounds.com/2022/10/sab.html<br />

“That Afternoon” on Mubi, a dialogue: Tsai Ming<br />

Liang and Lee Kang-Sheng<br />

https://books.oceanpounds.com/2022/11/ta.html<br />

The Travelogue of a Bitter Melon<br />

https://books.oceanpounds.com/2022/11/tbm.html<br />

Swan House<br />

https://books.oceanpounds.com/2022/12/swanhouse.html<br />

“Journeys of Leung Ping Kwan”<br />

http://books.oceanpounds.com/<strong>2023</strong>/01/pk.html<br />

Ken Lee is a poet and an architectural designer based<br />

in Toronto. He has been composing poetry in Chinese,<br />

and is only recently starting to experiment with writing<br />

English poetry under the pen name, “bq”.<br />

Lee Ka-sing, founder of OCEAN POUNDS, lives in<br />

Toronto. He writes with images, recent work mostly<br />

photographs in sequence, some of them were presented<br />

in the format of a book.<br />

www.leekasing.com<br />

Robert Black, born in California, is an award-winning<br />

poet and photographer currently based in Toronto.<br />

His work often deals with themes related to language,<br />

transformation, and disappearance.<br />

Shelley Savor lives in Toronto. She paints and draws<br />

with passion, focusing her theme on city life and urban<br />

living experiences.<br />

Tamara Chatterjee is a Toronto photographer who<br />

travels extensively to many parts of the world.<br />

Wilson Tsang is both a visual artist and a musician<br />

from Hong Kong. To date, he has published two art<br />

books for children and four indie music albums.<br />

Yam Lau, born in British Hong Kong, is an artist and<br />

writer based in Toronto; he is currently an Associate<br />

Professor at York University. Lau’s creative work<br />

explores new expressions and qualities of space,<br />

time and the image. He is represented by Christie<br />


Under the management of Ocean and Pounds<br />

Since 2008, INDEXG B&B have served curators, artists,<br />

art-admirers, collectors and professionals from different<br />

cities visiting and working in Toronto.<br />

INDEXG B&B<br />

48 Gladstone Avenue, Toronto<br />

Booking:<br />

mail@indexgbb.com<br />


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