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

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

<strong>2023</strong>-<strong>1127</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: Hiromi Hoshino 星 野 博 美 /<br />

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

and Lee Kang-sheng (Lee Ka-sing)<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 />

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

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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 />


OP Edition (an archive)<br />

Hiromi Hoshino<br />

Untitled<br />

8x10 inch, c-type photograph<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)

星 野 博 美 Hiromi Hoshino<br />

女 那 禾 多 復 刊 號 其 中 有 一 張 照 片 最<br />

為 人 所 談 論 : 兩 隻 白 色 母 雞 站 山 邊<br />

活 像 兩 個 正 在 談 話 的 人 。 攝 影 師 星<br />

野 博 美 想 香 港 的 攝 影 圈 人 都 不 會 太<br />

陌 生 了 ,1997 女 那 禾 多 的 發 表 了<br />

十 個 旅 港 或 居 港 的 外 藉 人 , 博 美 便<br />

是 其 一 。1997 年 她 在 藝 穗 會 的 畫<br />

廊 展 出 < 華 南 體 感 >( 她 一 本 同 名 的<br />

攝 影 集 , 情 報 中 心 出 版 局 ,1996)<br />

, 上 面 提 的 白 色 母 雞 照 片 便 是 屬<br />

於 這 組 作 品 。 展 覽 的 時 候 , 橋 口<br />

讓 二 也 來 了 香 港 ,( 橋 口 先 生 是<br />

日 本 著 名 的 肖 像 攝 影 師 , 博 美 曾<br />

是 他 的 工 作 室 助 理 )。 我 離 開 香 港<br />

後 , 博 美 在 藝 穗 會 開 過 另 一 個 攝 影<br />

展 :< 香 港 花 > ( 攝 影 集 由 平 凡 社<br />

出 版 ,2000)。 她 在 攝 影 集 的 扉 頁<br />

寫 著 :“ 不 要 到 世 界 任 何 地 方 , 只<br />

想 在 這 個 城 市 尋 找 幸 福 。” 她 拍 攝<br />

香 港 很 不 如 香 港 的 攝 影 師 , 不 消 說<br />

那 濃 烈 堅 實 的 色 彩 , 她 的 人 物 無 論<br />

老 年 少 年 都 是 滿 懷 著 希 望 。 她 照 片<br />

的 色 彩 不 是 我 在 香 港 時 候 常 常 見 到<br />

的 彩 度 , 物 景 幽 祕 又 令 你 有 如 致 身<br />

異 域 。 她 在 < 香 港 花 > 的 最 後 一 頁<br />

寫 著 :“ 發 財 夢 碎 了 , 孩 子 倒 養 大<br />

了 。 這 還 算 幸 福 的 。” 星 野 博 美 的<br />

香 港 明 顯 與 一 些 外 藉 攝 影 師 的 遊 客<br />

景 觀 不 同 , 她 有 她 的 作 為 一 個 局 外<br />

人 的 視 點 , 令 你 珍 惜 的 是 她 深 入 了<br />

而 再 誘 發 出 來 的 感 覺 。 幾 年 前 在 東<br />

京 逛 書 局 , 無 意 間 在 書 架 上 看 到 她<br />

一 冊 剛 獲 獎 的 文 集 :< 滾 石 香 港 不<br />

生 苔 >( 情 報 中 心 出 版 局 ,2000)。<br />

博 美 的 文 字 背 景 也 許 可 以 為 她 的 影<br />

像 營 養 下 一 個 註 腳 。 今 年 6 月 在 我<br />

的 畫 廊 為 她 的<br />

< 華 南 體 感 > 做 了 一 個 個 展 , 她 也<br />

來 了 多 倫 多 數 日 。 當 時 有 幾 個 人 向<br />

我 盛 讚 過 博 美 文 字 , 只 消 幾 個 小 段<br />

的 翻 譯 便 散 發 出 那 般 的 魅 力 。<br />

女 那 禾 多 記 ( 李 家 昇 2010)

Gary Michael Dault<br />

From the Photographs,<br />

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

Number 5: Four Illuminated Pages<br />

1) Page One 2) Page Two

3) Page Three 4) Page Four

Poem<br />

Holly Lee<br />

nine canisters<br />

nine canisters lined up for a portrait shot<br />

long time life-giving carriers, rusted, graffitied, painted<br />

over multi-time, aligned themselves like a platoon squad<br />

skin bruised and broken, muted blue and green<br />

smooth black wounds and scratches<br />

resplendent, dignified<br />

stout without a doubt<br />

who would have questioned<br />

they are now men’s best friends<br />

even men’s once best friends are not spared<br />

too many strays among the ruins<br />

wandering, looking for remnants<br />

pieces of self-history, scattered<br />

amid tumbling houses and rubbles<br />

to re-build yesterday’s dream<br />

when conveniences are unobtainable<br />

women mould taboons by hands<br />

out of clay, animal dung and straw<br />

where food is cooked water is boiled<br />

none of these need fuel, gas or electricity<br />

the sun comes out fine today<br />

in a wood-fired clay oven<br />

breads taste richer and better<br />

cups of hot coffee and hot tea<br />

old Imm Jamil, the oven-maker, smilingly says<br />

destruction and prohibition<br />

bring nineteenth century back<br />

donkeys, horses, mules assisting<br />

carrying people and their few belongings<br />

fleeing this way and that<br />

to the majorities displaced<br />

home is just a mobile bed<br />

on his bicycle-driven cart<br />

rests Idrak Awad, bending both knees<br />

fitting into his four-feet makeshift lodging<br />

questions and disputes<br />

the existence of righteousness<br />

inconvincible<br />

his skeptical eyes<br />

squint hard into the afternoon sun

Open/Endedness<br />

bq 不 清<br />

〈 未 命 名 詩 節 〉 之 二<br />

而 我 們 稱 之 為 閏 年 。 對 於 那 些 需 要<br />

向 別 人 証 明 自 己 的 人 來 說 , 閏 年<br />

給 予 額 外 的 工 作 天 , 可 以 被 看 成 一 種<br />

衷 心 的 獎 勵 。 正 如 普 羅 科 基 耶 夫 初 次 讓<br />

奧 伊 斯 特 拉 赫 看 他 撰 寫 的 小 提 琴 協 奏 曲 , 他<br />

告 訴 小 提 琴 家 「 演 奏 時 , 嘗 試<br />

懷 著 一 顆 說 服 別 人 的 心 。」<br />

演 奏 時 , 嘗 試 懷 著 一 顆 說 服<br />

別 人 的 心 , 但 是 , 千 萬 不 要 讓 別 人<br />

把 咳 嗽 與 噴 嚏 插 進 你 的 音 樂 。 如 你 所 知 道<br />

傷 寒 季 節 已 經 到 來 , 一 座 座 樹 葉 之 城<br />

終 於 失 陷 , 成 為 遊 客 的 廢 墟 與<br />

陷 阱 。 一 如 我 們 所 預 料 : 新 的 開 始<br />

就 這 樣 結 束 , 如 此 的 短 命 。<br />

新 的 開 始 就 這 樣 結 束 , 如 此 的<br />

短 命 , 但 一 定 令 人 眼 前 一 亮<br />

天 空 似 乎 更 藍 了 , 所 有 蜉 蝣<br />

都 已 斷 氣 和 因 變 灰 而 隱 沒 如 時 間<br />

炭 精 條 的 發 明 只 是<br />

為 了 繁 衍 後 代 之 後 永 遠 消 失<br />

而 瞬 間 是 它 所 留 下 的<br />

而 瞬 間 是 它 所 留 下 的<br />

它 為 畫 布 注 入 生 命 如 謊 言 促 進<br />

一 宗 刑 事 案 件 。 我 真 的 在 場 嗎 ?<br />

樹 底 的 影 子 和 蕨 葉<br />

真 的 見 證 了 四 散 的 草 根 嗎 ?<br />

雪 季 即 將 來 臨 , 我 們 是 知 道 的 ——<br />

這 首 詩 取 材 於 真 實 的 故 事


And we call it a leap year, which comes<br />

With an extra work day, a heartfelt reward,<br />

For those who have something<br />

To prove. It’s like when Prokokiev first showed<br />

Oistrakh his violin concerto, the composer<br />

Encouraged the violinist, “play it as though<br />

You are trying to convince someone.”<br />

Play it as though you are trying to convince<br />

Someone, but hey, never let no one interject<br />

Your song with coughs and sneezes. It’s<br />

Flu season, as we know it, where cities of leaves<br />

Finally fall and become touristic ruins and<br />

Traps. We have always predicted this: the end<br />

Of the new beginning, which is short-lived.<br />

The end of the new beginning, which is<br />

Short-lived, but is sure to turn heads.<br />

The sky seems to be bluer now that all the mayflies<br />

Have expired and greyed out. Like time,<br />

Charcoal sticks are created only<br />

To procreate and vanish forever,<br />

And a moment in time is what’s left of it.<br />

And a moment in time is what’s left of it.<br />

It invigorated a canvas like lies that motivate<br />

A criminal case. Was I really there?<br />

Could the shadows and fronds under the trees<br />

Really be witnessing the wide-spreading grassroots?<br />

Snow season is coming, we know—<br />

This poem is based on a true story.

Lee Ka-sing OPUS Archive<br />

(2003) Five Senses (Opp.1)<br />

https://opus.leekasing.com/2003/01/opus1.html<br />

(1992-1994) Photographs for DISLOCATION cover (Opp.2)<br />

https://opus.leekasing.com/1992/01/opus2.html<br />

(2009-2013) Z FICTION (Opp.3)<br />

https://opus.leekasing.com/2009/01/opus3.html<br />

(2011-2013) Z 話 本 (Opp.4)<br />

https://opus.leekasing.com/2011/01/opus4.html<br />

(1988) Hello Hong Kong (Op.5)<br />

https://opus.leekasing.com/1988/01/opus5.html<br />

(<strong>2023</strong>) fly-in-love 飛 天 情 書 (Op.7)<br />

https://opus.leekasing.com/<strong>2023</strong>/01/opus7.html<br />

(2012) The Psychological Journey while Taking a Colour Photograph of a Dinosaur (Op.8)<br />

https://opus.leekasing.com/2012/01/opus8.html<br />

(2015) MOVIOLA (Op.9)<br />

https://opus.leekasing.com/2015/01/opus9.html<br />

(2020) CODA (Op.11)<br />

https://opus.leekasing.com/2020/01/opus11.html<br />

(2022) Diary of a Sunflower Book Two (Op.12)<br />


OPUS Archive<br />

Lee Ka-sing<br />

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

and Lee Kang-sheng (Mubi 頻 道 看 蔡 明 亮 那 日 下 午 ,<br />

對 談 李 康 生 ) is a visual poem presented in sixteen sequential<br />

photographs. The original work is in book format, measuring<br />

8×10 inches (200mm ×250mm) across 36 pages.<br />

Lee Ka-sing OPUS Archive<br />

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

and Lee Kang-sheng (Op.13)<br />

在 Mubi 頻 道 看 蔡 明 亮 那 日 下 午 , 對 談 李 康 生<br />

Relationships are like a semi-transparent lantern. You wish<br />

to see the candlelight inside, but it’s just a shifting illusion.<br />

One afternoon, I happened to watch a film by Tsai Ming-liang<br />

on the Mubi channel. It featured a long conversation between<br />

him and his regular actor, Lee Kang-sheng. This in-depth<br />

discussion about relationships felt like observing the movement<br />

of light points inside a lantern from outside a glass tank, in<br />

a fixed position. It employs a language with clarity, yet it floats<br />

in another parallel dimension of time. This is also the reason<br />

why I enjoy doing photography work.<br />

View full version of this work at OPUS Archive (Op.13)<br />

https://opus.leekasing.com/2022/12/opus13.html<br />

“That Afternoon”on<br />

Mubi, a dialogue:<br />

Tsai Ming-liang and<br />

Lee Kang-sheng<br />

(2022) Op.13

View full version of this work at OPUS Archive (Op.13)<br />


Thinking Party<br />

Sarah Teitel<br />

Intervention<br />

A nub erupts from the base of the orchid.<br />

First it is a blister, then it is a bullet<br />

then it is a stem and bud<br />

close-matched in size<br />

to the stick and bulb<br />

of a match.<br />

The amputated leaf<br />

in my hand<br />

swoops to compliment<br />

the curve of my hand.<br />

I press my flesh<br />

into the outer edge of the leaf<br />

which is sharp<br />

as a dull blade.<br />

I think I could draw blood<br />

if I wanted to.<br />

A low leaf limits the new growth<br />

which grows<br />

to accommodate the squeeze.<br />

The stem crooks<br />

and bows to the mulch.<br />

The bud kisses a shard of bark.<br />

I go in as surgeon<br />

with the shears<br />

and sever the leaf at its root.<br />

The stem does not decontort.<br />

Time will see it shrivel.

The Photograph<br />

Selected by<br />

Kamelia Pezeshki<br />

Green Hydrangea by Kamelia Pezeshki

Travelling Palm<br />

Snapshots<br />

Tamara Chatterjee<br />

France (September, 2014) – We spent a nice<br />

part of the afternoon rambling around the<br />

Jardin des Plantes, including exploration<br />

inside several of the glorious galleries. The<br />

light cast through the ornate staircase railing<br />

was my little moment of mental repose,<br />

while my mind attempted to digest the<br />

paleontological and comparative anatomical<br />

wonders I had just encountered.

Poem a Week<br />

Gary Michael Dault<br />

Lines After Yiannis Ritsos<br />

a river flows<br />

from my little finger*<br />

with barges drifting<br />

over paper<br />

and bells of ouzo peeling<br />

from the harbour<br />

I write all day<br />

over water<br />

until caring stars<br />

offer me<br />

a weary dusk of oleanders<br />

in return<br />

for my marble pen<br />

I lie back then<br />

on the metal sea<br />

and pour myself the moon<br />

*Yiannis Ritsos, a Greek poet whose work I greatly admire,<br />

lived from 1909-1990. The first two lines of my poem are by him.

Greenwood<br />

Kai Chan<br />

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

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

A Cat and a Mouse<br />

7 x 34 x 4 cm, dogwood, basal wood, papîe maché, dye acrylic paint

Art Logbook<br />

Holly Lee<br />

Carmen staged on the world’s largest, spectacular floating stage in<br />

Bregenz, Austria with a set designed by British artist Es Devlin, staged<br />

by Kasper Holten.<br />

https://www.youtube.com/watch?app=desktop&v=9T2TsDUCa4I<br />

https://operaramblings.blog/2017/12/09/carmen-at-bregenz/<br />

https://frameweb.com/project/carmen-bregenz-festival<br />

Photograph<br />

Carmen from Bregenz Festival 2017 (image ©Frameweb.com)

CHEEZ<br />

Fiona Smyth<br />

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


FRIDAY, a weekly flyer, showcases<br />

highlighted artwork offers from the<br />

OCEAN POUNDS online shop.<br />

FREE and PAID Memberships.<br />

For a Paid subscriber, there’s an<br />

extra perk – exclusive emails<br />

containing discount codes for<br />

featured deals and other special<br />

offers.<br />


PRICE TAG POEMS: Occasional Verses<br />

by Gary Michael Dault, written to<br />

accompany his artworks in the online<br />

store. Dault will also be writing, from<br />

time to time, about the work of other<br />

store artists.<br />


Published weekly at FRIDAY<br />

Kai Chan’s Wallflower<br />

https://oceanpounds.com/products/kai-chan-silk-screen-on-paper-8750<br />

By the Lake<br />

https://oceanpounds.com/products/gary-michael-dault-by-the-lake<br />

The Elderly Vase<br />


Black Flowers: Drawings<br />

by Malgorzata Wolak Dault

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 #5

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 />


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 />

Beaver’s sculpture<br />

20” x 16”

Rocky mountain<br />

24” x 18”

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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