MONDAY ARTPOST 2023-0925

MONDAY 

ARTPOST 

2023-0925 

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 / Malgorzata Wolak Dault 

/ Shelley Savor / Tamara Chatterjee / 

Tomio Nitto / Wilson Tsang / Yam Lau 

+ K&G Greenwood: Prospect Cottage (Holly Lee) / Back 

to Bed (Sarah Teitel) / OP Ediion: Ngan Chun-tung 

MONDAY ARTPOST published on Mondays. Columns by Artists and Writers. All Right Reserved. Published since 2002. 

Edit and Design: DOUBLE DOUBLE studio. Publisher: Ocean and Pounds. ISSN 1918-6991. mail@oceanpounds.com 

Subscription and Support: https://patreon.com/doubledoublestudio

K&G Greenwood 

Holly Lee 

Prospect Cottage (Derek Jarman) 

“I live in a fisherman’s house by the sea. Swallows are on their way from there 

to Egypt: the toad sits on the wet stones, blinking his eyes as fishermen pass 

by: the wind blows seaward, the nuclear power station hums (chiming the 

hours like a clock) and a steam locomotive passes at the end of the garden.” - 

Derek Jarman on Prospect Cottage, 1990. 

K&G Greenwood is a project of intricate complexities. It revolves around 

the realms of experience, cherished memories, enduring friendships, and a 

profound love for gardens, artists, writers, and books. 

I began my journey by calling a stag a horse. Using pictures I took from 

K&G’s garden, I paired each one with my writings written for different 

gardens that have inspired and intrigued me. 

The project takes the form of postcards, which I mail to K and G at intervals. 

On each postcard, I include a few sentences from the longer text. I extend an 

invitation to K or G to respond by taking a photograph each time they receive 

my postcard. 

For a long time we’ve kept Derek Jarman’s Luminous Darkness on the 

bookshelf, neatly tugged between books of similar thickness and sizes. It 

is a black octavo of about 60 pages, with gold letterings embossed on its 

hard cover – an exhibition catalogue of Derek Jarman’s pitch paintings and 

mixed medium work held in Tokyo during September, 1990, just four years 

before his death. I don’t recall seeing the exhibition, or the bookstore that 

we spotted his book. It was in the 80s that we knew him as a filmmaker of 

the Arthouse genre, producing mesmerizing, avant-garde films, but not as 

a painter, writer, or a gardener. We saw some of his films: Caravaggio, and 

The Last of England. He said he found his voice in the 80s, and it was in 

the 80s we found him. Blue was the last film we saw, when he lost his sight, 

then voice, then breath. We were quite ignorant back then, not realizing 

the extent of his health problems or how much he has been fighting for gay 

rights. And so as he vanished, he was gradually falling out of our radar. 

How he, and other important artists have fallen off our list for such a 

long time... I was researching for a project of world gardens, and noticed 

Prospect Cottage from a beautifully illustrated A-to-Z garden book. A 

black fisherman’s cabin by the sea in Dungeness, Kent, punctured by nine 

bright-yellow, gridded vertical windows – a house seems to be out of a 

child’s hand drawing. It became his home, garden and sanctuary in 1986. 

After Derek died of an AIDS-related illness, his longtime companion Keith 

Collins stayed there and tended the garden until he, too, died of a brain

tumor in 2018. During the eight years of living in the cottage, Jarman 

produced thirteen films, including critical films like Caravaggio, The Last 

of England, Edward II and Blue. The 1990 avant-garde film “The Garden” 

was set and filmed in Dungeness. Despite his declining health, he worked 

tirelessly in this hut as an artist, filmmaker, and, above all, a quixotic 

gardener. Gathering driftwood, discarded metal parts, beach-combs and 

flotsam of all sorts from the beach to make art. Planting santolina, valerian 

and crambe, he transformed the cottage’s front, back and all its surrounding 

into a sculpture garden. Thanks to his endless efforts, this unpromising 

shingle landscape glows with energy and radiance. The garden has no fence, 

it is expansive and distant, with arms reaching out to the sea. ‘My garden’s 

boundaries are the horizon.’, in his book Modern Nature he wrote. 

Derek Jarman’s Garden (1995) 

Luminous Darkness by Derek Jarman (1990) 

I have to reacquaint myself with Derek Jarman. I turn to the film Derek, 

a lyrical collaboration between Isaac Julien and Tilda Swinton in 2008. 

In Derek, Julien poetically weaved together the story of the artist through 

extensive use of home movies, archive materials, and footages drawn from 

a day-long interview Jarman gave to Colin McCabe in the 80s. Tilda’s voice 

appeared at the beginning of the film, as she prowled the streets of London, 

reliving fragments and shards of memory. “I remember the sea. I remember 

the garden. I remember the cottage. But most of all, I remember you, dear 

Derek”. She appeared intermittently in the film with narratives extracted 

from her 4000 words love letter to Derek – Letter to an angel. 

I’ve always loved Tilda, and what a fine writer she is. Letter to an angel 

is a poignant declaration of friendship, ideas; with penetrating reflections 

on the film industry, art, identity and culture. Is it the Spring, or Winter 

garden Tilda remembers? Jarman’s garden fascinates me. I tried to look 

up photos of it, and every picture presents a different season, a varying 

look with sculpture installations, differing plants and garden layouts. Then 

I discover Derek Jarman’s Garden – a book of photographs by Howard 

Sooley. The project started in 1991, and continued on until Jarman’s death 

in 1994. A beautiful documentation, with words from Jarman, it witnessed 

the development and changes of the garden he and a few friends strived 

to create. With heart-breaking modesty and sincerity he wrote, in diaries,

prose, or poems. The book is full of wonderful, simple and small things. If 

his illness was a lesson in life, it taught him to resort to the most basic and 

purest existence, to be in tune with nature, to calmly observe life as it goes 

on, and goes by. Here’s a little excerpt from his journal: 

“Later, Howard planted Nottingham catchfly and pea vetch which Joanna 

brought from the wild flower nursery... At the side of the house the wooden 

sleeper squares look magnificent, filled with shingle. Peter is still cutting the 

poem ‘Busie old foole, unruly Sunne’ for the side of the house...” 

Holly Lee: K&G Greenwood original postcard – Prospect Cottage (2023) 

144mm x 100mm, 2023 

What a noble idea to have a poem set right outside the cottage. The last 

time I remember meeting a poem in a public space was from the exterior

wall of a small Iranian restaurant, at the junction of Gladstone and College 

street. Actually, there was yet a previous encounter – again, in an Iranian 

restaurant on college street called Tavoos. I even picked up a few verses 

from the ceiling beam where the poem was inscribed: “We drank tea on 

the meadow of the table. I opened the door. A piece of sky fell into my 

glass. I drank the sky down with the water.”. Somehow, I did not see the 

Iranian poet’s name acknowledged. Perhaps he is so famous that the interior 

designer thought people would have known who wrote it. 

In the case of Jarman, he cited The Sun Rising, John Donne’s poem on love, 

longing and belonging. The first, and the last stanzas were set by hand with 

the help of Peter Fillingham on the west side of the house, facing the setting 

sun. Approaching the dusk of his days Jarman visited Giverny – Monet’s 

famous garden. Standing on the green bridge against the luxuriant growth of 

white wisteria, he wore a brown sport coat with a green felt pen clipped on 

the left chest pocket, a red cap and a cane on his hand. For a brief moment, 

I saw a mirage of my poet friend, Yesi. In his last days, he wore a checkered 

grey cap, a polo neck, on top of it a wool jacket. I can still hear his laughter 

and feel the sparkle in his eyes. Underneath the dark rim glasses, an 

unmistakable broad smile. 

Postcard photographed by Glenn Beech at home, Greenwood (2023)

Little by Little 

Paintings by Tomio Nitto 

50 Gladstone Avenue artsalon 

September 25 - November 11, 2023 

Visit by appointment (mail@oceanpounds.com) 

Little by Little 

Paintings by Tomio Nitto 

50 Gladstone Avenue artsalon 

September 25 - November 11, 2023 

Visit by appointment (mail@oceanpounds.com) 

Little by Little is a body of work produced by Tomio Nitto. There are more than forty oil paintings 

created over the years, approximately from 2006 to the present. Tomio Nitto has always stressed that 

he likes to paint, but he is not an artist. Painting is a medium through which he expresses himself, his 

perception of life and what it means to be constantly moving, looking and communicating with others; 

his connection to the world. He leads a simple life with style, has a deep love for nature (one of the 

reasons he stays in Canada), and his genuinely altruistic nature towards other fellow creatures emerged 

in all his work. Thirty two pieces of work are shown in the exhibition. Together they form a narrative, 

but also leaving open a wide space for individual interpretation.

Sketchbook 

Tomio Nitto

Sarah Teitel 

Back to Bed 

I rise from the past 

and it tumbles me back to bed 

throws its arm around me 

winds its leg 

around my leg. 

The mattress is bare. 

We stripped it 

the past and I 

in our tangle. 

The sheets are heaped on the floor 

pooled in light 

that sneaks through the curtains. 

Don’t you have to go to work? 

I say to the past 

but the past is already on the clock 

my hair gathered in its fist 

its teeth knocking into mine 

Sarah Teitel is a multidisciplinary 

artist living in Toronto. She writes 

poems, songs and prose; draws, 

sings and plays instruments. 

sarahteitel1.bandcamp.com/album/ 

give-and-take 

as day unspools 

on the other side 

of the window.

Leaving Taichung 

Station 

Bob Black 

We gather our bodies from the sea 

this was the time of distances and lilac light 

thin voices carried on orphan wind and a fulsome trawler’s music 

purring safety-lights wintered overhead with a disco sweep, the black 

rocks undercut a shy Autumn sky and kept the dreams from listing 

here, lives saved from the dark reef and songs sung 

for those lost under stone and bubble 

and our hearts went rummaging, gravel in the folds

of our knees, dreamleaves falling in our palms 

brisk like a nob of Oolong poured too quickly, our breath 

made visible in the words’ updraft and uncertainty 

here we fell with a soft scratch, the tiny hurt of promises 

netted in the catch of one another’s heat 

what is forsaken braids a lifelong covenant 

sound thin as rain tapped the buckles of shoes, rows of vows 

in the hike through the storm betrothed along the cliff walk 

north of Hualien the Pacific growled, razored and our hearts rumbled in the gale 

down the sheer sliding our names pebbled forever 

and forever and forever clinking, kerthump 

the landing and the child’s dream 

tides and toads, tides and stones, a time for leave taking 

remember before all this on the side of a road 

we carried stony carapace and skin as a prayer 

our bodies scampering up from the beach 

our bronzed and bruised legs buttery from the pull of gravity 

as the sea’s choir threw up shells and a fisherman’s memory 

the trainmaster weighed only what the passage allowed, crumpled 

in the cabin the cartography of children 

we’d picked at the earth with blue sticks 

grief inked our fingers with volcanic ash in the breeze 

I spit out your name and the world tasted of your mouth 

the old woman selling trinkets in rust, song out in English 

Merry Christmas, Merry Christmas to you 

as bones gathered at the bottom of the old tree, the sentry 

on the precipice, the cicada wings and rusted cans hushed for a moment 

along the path Eastward and we stared long and our hearts 

dipped deepdown into the faceless water while language rose from the muck 

far away, something once spoken in flourishes across bedsheets 

have we both forgotten 

the humid words of East Asia hummed along the spine of this place 

how the pictures of Taiwan traduced description 

how grief scissored along the mountain range, North to South 

you reached out as I licked the long scar tracking your chest, we knew 

we were home 

as we gathered up the glass pieces, you and I, 

each nib and syllable of the rhyme and the broken sea.

fly-in-love 飛天情書 is a creation coincides with the “Desire to Fly” ( 想飛 ) exhibition 

at GATE 33 GALLERY, AIRSIDE, Hong Kong, taking place from September 28 to 

November 12, 2023. 

fly-in-love 飛天情書 is a variation, based on a fictional photograph Lee Ka-sing 

created in 2010. This variation is constructed using 193 photographs in sequential order, 

also, embodying a previous work titled “Holly descending a staircase from the third floor 

to the gallery, about to go out to make a photograph at Trinity Bellwoods Park”— a love 

poem in thirty frames that Ka-sing wrote to Holly in 2012. 

In format of 8x10 inches, soft cover, with 428 pages. Published by OCEAN POUNDS 

and distributed as a book-on-demand. The total print run for the Exhibition Edition is 

limited to no more than fifty copies. 

fly-in-love 飛天情書 

Lee Ka-sing (2023) Op 7 

You can view a full edition of this book at this link: 

https://opus.leekasing.com/2023/01/opus7.html

… 談笑間 … 

Yam Lau 

Gego 

Midiendo el infinito 

Museo Jumex 

Cuidad de Mexico 

19 Oct. 2022 – 05 Feb. 2023 

… I discovered the charm of the line, in and of itself… 

-Gego 

Gego (Gertrud Louise Goldschmidt, 1 August 1912 – 17 September 1994), 

a name invented in childhood for play, later adopted professionally is 

virtually unknown in the narrative of modern art in North America. While a 

search in the database of the York University (where I work) returned three 

entries, the books have never been signed out. Hence, my belated discovery 

of her work last December in Mexico City is especially poignant. I find 

the prescience of Gego’s exploration of the material line and transparency 

(Geogo’s word) resonates with a tenuous and open form of geometry that is 

evocative and varied in dimensionalities. In that sense, Gego’s performative 

line acting between the realm of the physical and the virtual, identifies the 

contemporaneity of her practice, a fact that is further heightened by the 

artist’s relative historical obscurity and belated international reception. 

In March 2023, Gego’s work will be featured in a solo exhibition at the 

Guggenheim Museum in New York. 

An edited version of this text is published in the 

September Issue of Esse. The following is the original. 

Gego, a German Jew trained as an architect, fled Fascism in 1939 to settle 

in Caracas, Venezuela. She did not begin to make “art” until the 50’s. 

While Caracas may not have been the centre for post-war modernism, the 

movement’s ethos, synonymous with progress, was intensively embraced 

by the state. Gego’s work developed against this cultural milieu and her

training in architecture. The exhibition at Museo Jumex chronicles Gego’s 

practice from the earliest representational watercolour to the last body of 

small “figurative” work, entitled Bicho. The course of this practice includes 

drawings, “sculptures”, prints, book works, installations, and large-scale 

architectural commissions. At the heart of this trajectory is the play of the 

line and its manifold potential. 

I think Gego’s line, “discovered” “in and of itself”, is deployed as an active 

agent that generates space. Unlike the line of the architect (Gego’s former 

trade) that serves as a partition or enclosure; or the line of the sculptor 

that serves to circumscribe form and mass. Gego’s line “passes through”, 

intersecting and gathering according to a nascent “logic” that hinges on the 

improvisational. The actions of the line occasion structures and schemas 

that are open, loosely held and gestural. Neither real nor symbolic, these 

schemas are animated by the essential mobility of Gego’s line (fig.1). This 

mobility, this trait of nimbleness commits the line to infinite variation 

and deviation. I regard Gego’s work as spatial propositions, a little like 

wireframe virtual models that are pledged not to the real, but to what she 

claimed as the “transparent”- the “reserve” of the real from which still more 

propositions are engendered and enabled. 

Fig.1 

Drawing without Paper 1986 

Steel and copper 

Fig.2 

Drawing without Paper 1979 

Steel and copper 

And what about “charm” as the subtle power exuded by the line? Gego’s 

favoured the 1mm wire as it bears on the world with remarkable ease 

and lightness. Gego speaks of “art” in quotations, as if she cautioned 

its aesthetic pretension. And she categorially rejected the identification 

of her work as “sculpture” in the conventional sense of a definite mass 

occupying space. Indeed, the “transparent” is not a space that can be filled 

or occupied. Neither is it a form that can be defined and circumscribed. 

Gego’s line (and its shadows) are minimum material remnants, incarnations 

of another, less tangible, yet-to-be-seen “line”- the virtual line that exercises 

its trait of nimbleness, travels in transparency, and is forever lively. I cannot 

help to admire Gego’s succinct formulation: Her work is a deployment of 

“charm” in and through the line. Its affectation does not overwhelm as in 

the “sublime”, nor does it settle in aesthetic resolution as in the “beautiful”. 

Gego work lingers in and of itself, but also amongst each other. They charm

the world through their issue of frail, atmospheric schemas that vibrate and 

deviate, even if so slightly and tenderly fig.2. 

The occasion of “art” is often linked to place. I am fortunate to discover 

Gego’s work in the continent that nurtured her practice, prior to her 

canonization at the Guggenheim in New York. It is especially endearing 

that the exhibition is hosted by Museo Jumex, a private museum (admission 

is free) funded by a company that produces fruit juice fig.3. I have always 

enjoyed Jumex’s exquisite production of exhibitions, and the refined, 

understated architecture designed by David Chipperfield, the recent Pritzker 

Prize winner and architect for the fashion retail store Ssense in Montreal. 

Everything is delivered with focus, clarity and care. Gego’s exhibition is 

a result of years of research with the support of Fundación Gego, which is 

administered by Gego’s family and descendants. Most Gego’s structures 

are fragile, and their transportation requires delicate handling. I want to 

mention that it is Gego’s granddaughter, who after painstaking studies of 

each individual work, created custom containers for each one. The designs 

of these containers are ingenious. They share the same nimble character 

as the delicate structures they protect. I wish the exhibition would include 

some of these containers. It would be a story not only about Gego’s work but 

extended to include her family’s love. 

Yam Lau 

Toronto 2023 

Fig.2 

Gego, Installation at Museo Jumex

Greenwood 

Kai Chan 

Jumper 

bamboo, wire 52 x 37 x 7 cm 

Kai Chan’s work and books at OCEAN POUNDS 

oceanpounds.com/collections/kai-chan

From the Notebooks 

(2010-2023) 

Gary Michael Dault 

From The Notebooks, 2010-2023 

Number 197: Wrecking Ball (June 8, 2022)

Open/Endedness 

bq 不清 

膠著狀態 

這就是你一直想像的結局吧 

雲塊為太陽讓路 

引誘影子走出它們的 

外殼像暴風雨後的蝸牛 

至誠僅能帶你來到 

鄰近的法庭 , 他們這樣說 

為了贏得多點信任 , 你要表現得 

像一名坐在糖果前面的小孩 

既甜又膠著了

STICKY SITUATIONS 

It’s the end that you have been envisioning. 

Clouds make way for the sun 

To lure shadows out from inside 

Their shells, like snails following a storm. 

Honesty can only take you as 

Far as the nearby courthouse, they say. 

To earn further trust, you need to behave 

Like a child siting before a pile of candies. 

Sweet but sticky.

Caffeine Reveries 

Shelley Savor 

Tousle 

Shelley Savor’s work and book at OCEAN POUNDS 

oceanpounds.com/collections/Shelley-Savor

The Photograph 

Selected by 

Kamelia Pezeshki 

Hollyhock in the garden by Kamelia Pezeshki

Travelling Palm 

Snapshots 

Tamara Chatterjee 

USA (November, 2000) – Instead of freaking 

out, I meandered around taking a few 

photographs of the memermizing desertscape 

and a dessicated cluster of cacti. I am not a 

stormchaser, but on our way to Zion, even 

with evidence of darkness fast approaching, 

we gleefully watched the threat approach. As 

concrete jungle Canadians, we spent the next 

few days out of our element, desert driving 

under the snow... It was magical!

CHEEZ 

Fiona Smyth

Poem a Week 

Gary Michael Dault 

Angel 

graceful old stone 

drifting like a bubble 

apostrophe flippers 

bookmark tail 

there’s nobody there 

to ripple the blue

OP Edition (an archive) 

Ngan Chun-tung 

Shatin (1964) 

8x10 inch, gelatin silver photograph, printed in 90s 

Number 1/20, OP Edition 

Signed, titled and numbered on verso 

As the practice of collecting photographs picked up 

steam by 1994, the push motivated us to establish 

a system for people to interact, exchange, acquire 

and collect photographs. We set up The Original 

Photograph Club that year and created a print 

program called the OP Print Program. Ka-sing and I 

co-curated the project and attended all administrative 

and organizing work. It would be a quarterly 

program, each quarter of the year would feature ten 

photographers’ work. All participants would be required 

to contribute an image with 20 editions, printed in the 

size of 8 by 10 inches. These prints we referred to as OP 

Editions. 

(DISLOCATION 1992-1999, and Beyond [The OP Print 

Program and OP Editions, 1994-1999], Holly Lee)

Watercolours Part One: 

Skies Over Water 

Malgorzata Wolak Dault 

The collection of watercolours to be shown here was influenced by John 

Marin’s Maine landscapes and seascapes. They are, as well, the fruits of the 

drives my husband and I often take through Prince Edward County to look at 

and enjoy its ever-changing skies and waters. 

Passing Clouds

Skies Over Water: 

Watercolours by 

Malgorzata Wolak Dault 

52 pages, 8x10 inch, hardcover 

a collection of eighteen watercolours 

Book available in early October, 2023

ProTesT 

Cem Turgay

ReAttendance Of Space 

Bill Grigsby 

52 pages, 8x10 inch, hardcover, available at BLURB (CAN$50 each) 

https://www.blurb.ca/b/11682831-reattendance-of-space 

…

MONDAY ARTPOST 

edited and designed by 

double double studio 

Support and Subscription 

https://patreon.com/doubledoublestudio 

Members receive notification 

every new issue released, 

plus, Links and Passwords 

to read flip book edition 

of books published by 

OCEAN POUNDS.

TERRAIN, book one / book two 

/ book three 

116 pages, 8x10 inch, hardcover, available at BLURB (CAN$60 each) 

https://www.blurb.ca/b/11625068-terrain-one 

https://www.blurb.ca/b/11640008-terrain-two 

https://www.blurb.ca/b/11682715-terrain-three

TERRAIN, book four photographs by Lee Ka-sing / haiku by Gary Michael Dault 

(a haiku a day) a column published daily at: oceanpounds.com 

Circe, Interrupted 

Circe has dropped her fearful wand 

while turning warriors 

into pine cones

Leads to the Books published 

by OCEAN POUNDS 

DISLOCATION (1992-1999), and Beyond 

books.oceanpounds.com/2023/04/dislocation.html 

Poetic Liaison 

books.oceanpounds.com/2023/02/poetic-liaison.html 

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 

The Air is like a Butterfly 

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

Still Life Still A Book of Vessels 

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

The Book of The Poem 

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

The Nearby Faraway Small Paintings on Cardboard 

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

DOUBLE DOUBLE Box in a Valise a close-cropped 

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

DOUBLE DOUBLE Box in a Valise on-site 

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

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 

Songs from the Acid-free Paper Box 

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

Songs from the Acid-free Paper Box 

Museum edition 

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

“That Afternoon” on Mubi, a dialogue: Tsai Ming 

Liang and Lee Kang-Sheng 

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

The Travelogue of a Bitter Melon 

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

Swan House 

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

“Journeys of Leung Ping Kwan” 

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

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 

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 


ana 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 


Calendar Beauty Vintage Calendar posters from 

China 

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

Libby Hague Watercolours 

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

The Diary of Wonders 

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

CHEEZ 456 

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

Mushrooms and Clouds but no Mushroom Clouds 

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

CODA 

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

Diary of a Sunflower, Book Two 

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

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. 

Tomio Nitto is a noted illustrator lives in Toronto. The 

sketchbook is the camera, he said. 

Nine-Years 

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

Istanbul Postcards 

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

Eighty Two Photographs 

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

Time Machine 

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

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.

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 2023-0925

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