Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

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

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

<strong>2023</strong>-<strong>1106</strong><br />

ISSN1918-6991<br />

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

Columns by Artists and Writers<br />

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

Smyth / Gary Michael Dault / Holly<br />

Lee / Kai Chan / Kamelia Pezeshki<br />

/ Lee Ka-sing / Malgorzata Wolak<br />

Dault / Sarah Teitel / Shelley Savor<br />

/ Tamara Chatterjee / Tomio Nitto /<br />

Yam Lau + OP Edition: Hong Kong Central, 1996<br />

(Ernst Logar) / KK (Yam Lau)<br />

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

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

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

Subscribe to<br />

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

@substack<br />

https://mondayartpost.substack.com<br />

You will start receiving updates in your<br />

inbox when a new issue is released.<br />

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

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

Turkey.<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 />

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 />

Sarah Teitel is a multidisciplinary artist living in<br />

Toronto. She writes poems, songs and prose; draws,<br />

sings and plays instruments.<br />

sarahteitel1.bandcamp.com/album/give-and-take<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 />

Tomio Nitto is a noted illustrator lives in Toronto. The<br />

sketchbook is the camera, he said.<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 />


From the Photographs,<br />

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

Gary Michael Dault<br />

From the Photographs, 2010-<strong>2023</strong>.<br />

Number Two: Four Water Photos<br />

Marcel Duchamp (Horizontal)

Marcel Duchamp<br />

After Man Ray I<br />

Marcel Duchamp (vertical)

After Man Ray II

Night Owl Sonata (in<br />

one movement)<br />

Holly Lee

Forty<br />

This Y tree is an American Elm. It is old, nothing special, just one among<br />

the many Y trees in the parks. It stands against a backdrop of dense green<br />

foliage and gorgeous morning light, and its almost symmetrical shape,<br />

opening out into two huge arms, draws her attention and curiosity. And as<br />

she does more walking in the city, she begins to notice other alphabet trees.<br />

There is an O tree on Dufferin and Gordon Street. It has existed perhaps<br />

longer than the house upon which its roots are built. When the consumers’<br />

gas lamps were replaced by Toronto’s hydro-electric power in 1911, along<br />

many streets, poles were erected, overhead wires, primary switches, and<br />

distribution transformers were implemented. To save the O tree, a linden,<br />

some branches of the trunk were cut off to make way for the first and<br />

subsequent constructions. She discovered the O tree from the schoolyard<br />

across the street. Questioning its oddity and beauty, she now sees it as a<br />

hybrid collaboration between nature and man. And what a sad story behind<br />

the U tree on the street where she lives. The old tree was severely cut down,<br />

leaving only the trunk and two stubby branches. Above it, the wires run<br />

unobstructed. The O tree could have a sibling, she thought. Still much taller<br />

than she, the U tree stubbornly forges its two broken limbs to reach higher.<br />

Perhaps, just perhaps, another alphabet might emerge as time goes by, and<br />

the tenacious old tree springs to a burgeoning, vibrant second life.

Leaving Taichung<br />

Station<br />

Bob Black<br />

imagine the morning, if<br />

a small crescent of a smile appeared as you turned toward the night<br />

a coin-patch of tawny light upon the thumb print of an autumn apple<br />

a quenelle moon of vanille française melts down the blackberry sky<br />

a dallop of joy as a gospel honeyed into your Payuan ear<br />

the Taiwu Ancient Taiwan Ballads on the shoulder of the Sacred Mountain Kavulugan<br />

the song like a green river runs through you<br />

you have lived millennials word by word<br />

then you became today or yesterday or a decade ago<br />

I your ghost bride and we a ghost marriage, 冥 婚<br />

and the day stopped<br />

everything but love a cessation<br />

but now we return, again<br />

I your living groom, a brother or song<br />

a hymn hung in the wind, raked up for burning<br />

as the air rekindles everything lost<br />

October rebirthing Spring that awaits the warming sun on the horizon<br />

remember that in your grief<br />

golden amid the bruising, imagine the morning then<br />

if even now<br />

if even now<br />

for Wan.-lin and Louise Glück

Sarah Teitel<br />

Soap Opera<br />

A cracked bar of soap<br />

balanced on the lip of my bathroom sink<br />

has snared me.<br />

I am bound to it,<br />

this seafoam green oblong<br />

that began as a brick<br />

and nudges closer to “cylinder”<br />

with every wash;<br />

that tinges yellow at its ends<br />

as if I’d dunked it<br />

(biscuit-like)<br />

into a cup of iodine;<br />

that is ribboned with fissures<br />

and gorged with a ragged split,<br />

the inner surfaces of which<br />

are carpeted in a confusion<br />

of miniscule filaments<br />

that fringe in all directions<br />

and shag to cross each other.<br />

This poem would be an ode<br />

to loneliness,<br />

to the hour<br />

that stretches forever,<br />

but a rutted cake<br />

of glycerin and tallow<br />

transfixes me<br />

and begs to be described.<br />

The day is skimmed in a lather<br />

and the minutes slip by.

Open/Endedness<br />

bq 不 清<br />

日 全 食<br />

生 日 派 對 當 天 , 某 人 吃 掉 半 個<br />

夏 威 夷 披 薩 ( 一 個 被<br />

強 行 組 合 的 東 西 ) 之 後 被 喚 醒<br />

並 被 告 知 在 派 上 置 放 水 果<br />

是 嚴 禁 的 。 我 們 將 無 法<br />

活 得 長 久 以 獲 得 首 次<br />

學 習 這 個 時 代 的 歷 史 的 機 會<br />

夢 總 是 在 悲 哀 中 結 束<br />

像 一 首 D 小 調 。 只 有 花 時 間<br />

於 其 最 初 或 最 後 的 時 刻<br />

才 不 甚 危 險 。 否 則<br />

就 不 要 直 視 太 陽 了


At a birthday party, someone ate half<br />

Of a Hawaiian pizza, an object<br />

Of forced union, only to be woken<br />

And told that populating fruit on a pie<br />

Was forbidden. We will never<br />

Live long enough to learn<br />

The history of our era for the first time.<br />

Dreams always end in a sad tone,<br />

In the key of D minor. It is<br />

Harmless to spend time on it at the earliest<br />

Or the final moment of it. Otherwise,<br />

Don’t stare directly into the Sun.

Caffeine Reveries<br />

Shelley Savor<br />

You might be interested in Shelley Savor’s book<br />

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

Autumn Leaf Sonata #2

Poem a Week<br />

Gary Michael Dault<br />

The Autumnal Woman<br />

the autumnal woman<br />

sheds her leaves<br />

the wintering man<br />

picks them up<br />

and glues them<br />

to his empty bones<br />

it gives him<br />

a tree of his own

Black Flowers: Drawings<br />

by Malgorzata Wolak Dault

Greenwood<br />

Kai Chan<br />

You might be interested in Kai Chan’s book<br />

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

Floating<br />

3 x 16 x 2 inches, wood, papier mache, acrylic paint

Because<br />

an exhibition by Kai Chan<br />

Plus -<br />

Book launch: 2K 5.0 (On the<br />

Crown of a Silver Maple)<br />

a Kai Chan and Lee Ka-sing<br />


2K 5.0 (On the Crown of a Silver Maple)<br />

a collaboration by Kai Chan and Lee Ka-sing<br />

Direct order from BLURB, book-on-demand<br />

268 pages, 8x10 inch, soft cover, CAN$90<br />

https://www.blurb.ca/b/11745778-on-the-crown-of-a-silver-maple<br />

Ebook edition<br />

available at OCEAN POUNDS online shop<br />

download pdf file, US$5<br />


KK<br />

KK, a pair of initials; a mode of recognition between friends. The project<br />

“KK” arises from a friendship between two artists, Kai Chan and Lee Ka-sing.<br />

KK can be taken to signify “K and K”, “K+K”, or “K 和 K”; each of these<br />

conjunctions works to join the two Ks, and to activate the generative potential<br />

of KK’s friendship.<br />

The rule of KK is simple: one image elicits a corresponding image to<br />

produce a chain of paired images. Each image is a response to and a<br />

deviation from the previous image. Each image also serves to set up for the<br />

next image, and hearkens back to the earlier images. Images reverberate,<br />

moving forward and backward. In this chain of echoing, we see the<br />

entwining of K with K.<br />

The aesthetic logic of KK is affirmed by the manner in which it unfolds.<br />

I imagine the unfolding of KK transcending the lateral direction of the<br />

codex book. Perhaps KK can also multiply vertically, diagonally, or<br />

omnidirectionally. I look up, down and sideways for other traces. The book<br />

entitled KK is not an end, but a beginning: a bounded field that opens onto<br />

a vast region of concordance, where art can range to illustrate the breath of a<br />

friendship, where art overflows itself through the recognition of two friends.<br />

Yam Lau<br />

Toronto <strong>2023</strong>

Travelling Palm<br />

Snapshots<br />

Tamara Chatterjee<br />

Türkiye (November, 2019) – We skirted<br />

around Istanbul for 36 hours between flights,<br />

after a month in Central Asia. The short sejour<br />

clearly wasn’t enough time to see the city,<br />

or overindulge in the culinary delights. We<br />

did however have a great time meandering<br />

around some of the historical Ottoman sites.<br />

We passed the beautiful Fountain of Ahmed<br />

III several times, each time it had a different<br />

feel and a different pull due to the reflections<br />

of light.

OP Edition (an archive)<br />

Ernst Logar<br />

Hong Kong Central, 1996<br />

8x10 inch,gelatin silver photograph, printed in 90s<br />

Number 1/20, 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<br />

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

co-curated the project and attended all administrative<br />

and organizing work. It would be a quarterly<br />

program, each quarter of the year would feature ten<br />

photographers’ work. All participants would be required<br />

to contribute an image with 20 editions, printed in the<br />

size of 8 by 10 inches. These prints we referred to as OP<br />

Editions.<br />

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

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

The Photograph<br />

Selected by<br />

Kamelia Pezeshki<br />

Degas, the calm corner by Kamelia Pezeshki

CHEEZ<br />

Fiona Smyth<br />

You might be interested in Fiona Smyth’s book<br />


Little by Little<br />

Paintings by Tomio Nitto<br />

You might be interested in Tomio Nitto’s book<br />

https://books.oceanpounds.com/<strong>2023</strong>/10/little-by-little.html<br />

Tomio’s exhibition LITTLE BY LITTLE is currently on show<br />

at 50 Gladstone Avenue artsalon, visit by appointment<br />

(mail@oceanpounds.com)<br />

Departure<br />

24” x 24”

Mother and son<br />

20” x 16”

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 />


Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!