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<strong>MONDAY</strong><br />
<strong>ARTPOST</strong><br />
<strong>2024</strong>-<strong>0122</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: Jinx, in front of Hong<br />
Kong Harbour, circa 1994 (Holly Lee)<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>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 />
Contemporary.
TERRAIN, six. (Photographs by Lee Ka-sing, haiku by Gary Michael Dault<br />
in response). Read this daily collaborative column at oceanpounds.com<br />
Straight and Narrow<br />
The usually fulfilled<br />
sense of expectation,<br />
but with off-ramps
Leaving Taichung<br />
Station<br />
Bob Black<br />
A Child and The Sea<br />
Gaudeamus igitur,<br />
Iuvenes dum sumus!<br />
he stands above the vein’d river and claws at the cloud stiffening<br />
beneath his trickling feet, atilt words run<br />
as he pullies against the gawking water, pick after pick after pick<br />
and brings a submerged plant to his mouth, surrender an ascent
this brackish life just so, a tadpole damp and breezy in his fingers<br />
each black finger-prick point of the fecund plant pushes shape against<br />
shadow, legs away mid-sentence, a comma periscopes a button of pause<br />
as hope shrinks a leaf behind, what is it that trails<br />
she understands this place, an overly-chatty river and what he will become<br />
a future dressed in red wellies, she might never let go<br />
neither the moment nor the dollop of mud left on his cheek<br />
brine and chemistry river on, break over bereft bone<br />
the drum beat of a first syllable’s plank in the water<br />
fish the chalking light, can you see them entwined in the distance<br />
she below the bank taking up sight, a coppery pawprint<br />
smudged by his size 2 boots, traces wonder in the dank<br />
do we skin the pieces of cumulus together, a stitched sweater for him<br />
or recoil from her, a too-concerned touch and transplantation<br />
skin to sky, sky to shape what lay just out of his reach and her whisper too<br />
in that beat, a small click of the first piece of her heart, tumbles<br />
a knocking away she will learn to abide thee cadence<br />
he is only three years old and she is learning the fist of love<br />
sets him adrift, away like that river cloud coming apart seamless<br />
spawn mirrored in his hope of netting, light flickers frustration of a river gone on.<br />
the horizon recedes as doe the stories<br />
later, grandmother will place a letter on the sewing table<br />
fingers adrift in white weave, hands weathered into autumn twigs<br />
a palimpsest of a tea stain ring veins the table, coin rust words<br />
tucked into an inheritance by the door, the bucket splash<br />
late in the afternoon, the child sings under a line of linen<br />
vowels sift through chicory moving dusk over sea<br />
mother tucks love into the curls of his hair, a home<br />
shall we finish this story before the earth will have us<br />
the page now only words, weeds, and away there is, only silence<br />
as we throw our bones high into the sky falling, warm pebbles into the sea.
Poem a Week<br />
Gary Michael Dault<br />
or, for example,<br />
a whirlpool paperweight<br />
that’s been<br />
on the same side table<br />
for a decade<br />
FAMILIARITY<br />
every word<br />
is beginning to look<br />
flat to me<br />
as ordinary<br />
as a cardboard<br />
box<br />
especially if<br />
I stare at it<br />
for a long time<br />
of course<br />
it’s the same<br />
with my hand<br />
or a veil<br />
of white curtains<br />
moving with my<br />
always breathing<br />
I need to shake things<br />
hard<br />
get their attention<br />
force them into<br />
looking stranger<br />
such a newness<br />
would not be<br />
a perking of novelty<br />
so much as<br />
reparation<br />
change<br />
applied<br />
like a bandage
Black Flowers: Drawings<br />
by Malgorzata Wolak Dault
Fragments for<br />
a photograph<br />
Lee Ka-sing<br />
( 病 )<br />
( 名 字 )<br />
要 不 是 病 了 , 準 不 會 這 個 時 分 坐 在 這 裡 。 凌 晨 四 時 , 因 為 生 怕 咳 嗽<br />
弄 醒 海 , 林 坐 在 那 破 了 一 角 的 圓 形 雲 石 枱 邊 。 一 道 橫 寛 十 來 呎 的 半<br />
透 明 垂 簾 , 被 深 沉 的 夜 打 破 了 內 面 與 外 間 的 距 離 , 變 得 格 外 通 透 。<br />
如 今 , 對 面 的 白 屋 子 , 二 樓 的 大 窗 吊 掛 在 半 空 , 窗 內 燈 火 通 明 。 在<br />
漆 黑 中 , 有 如 一 面 攝 錄 像 機 的 小 屏 幕 。 白 正 在 做 甚 麼 , 想 他 也 必 是<br />
那 種 喜 歡 晚 上 工 作 , 彻 夜 不 眠 的 人 。 林 和 海 三 十 多 年 前 也 是 這 樣 ,<br />
也 可 能 是 這 個 原 故 , 海 得 病 了 。 這 也 許 是 創 作 人 的 通 病 。 正 如 他 們<br />
的 好 友 F, 來 了 多 倫 多 , 生 活 簡 單 了 , 依 然 甩 不 掉 那 當 年 忙 碌 生 活<br />
的 習 慣 , 為 私 下 興 趣 晩 上 通 晝 不 眠 。 林 想 他 的 離 去 也 部 分 是 這 個 原<br />
因 。 林 海 每 每 聽 音 樂 想 到 有 個 資 深 朋 友 帶 路 真 好 便 想 起 F。1976 年<br />
黃 老 師 指 導 聽 古 典 音 樂 , 林 與 海 因 為 要 集 中 所 有 精 神 放 在 他 們 剛 開<br />
始 的 攝 影 事 業 而 掉 了 隊 , 獨 是 F 越 聽 越 聽 出 耳 朵 的 精 靈 , 已 經 前 行<br />
得 很 遠 。F 喜 歡 馬 勒 , 林 想 過 創 作 一 組 聽 馬 勒 衍 生 出 來 的 照 片 送 給<br />
F 作 為 懷 念 。 同 樣 他 們 也 常 常 想 到 Y。 當 他 們 可 以 騰 出 空 間 寫 詩 讀<br />
詩 , 想 有 一 個 知 心 好 友 互 動 的 時 候 ,Y 又 已 經 遠 去 。 夜 , 就 是 這 樣<br />
的 透 明 。<br />
海 對 林 說 , 你 為 什 麼 叫 自 己 做 林 。 林 說 , 我 們 恩 愛 , 你 的 名 字 有 那<br />
麼 多 木 , 我 把 你 身 上 的 肋 骨 拿 一 根 過 來 , 和 我 的 木 合 在 一 起 , 那 不<br />
就 是 林 麼 ? 大 陸 從 前 有 本 頗 流 行 的 小 說 叫 「 林 海 雪 原 」, 和 這 個 沒<br />
有 半 碼 子 的 關 係 , 別 瞎 猜 。 說 到 名 字 , 林 與 海 從 來 沒 有 和 對 面 白 屋<br />
的 攝 影 師 打 過 招 呼 , 當 然 不 知 道 對 方 的 名 字 , 心 中 就 以 白 相 稱 。 同<br />
樣 , 那 攝 影 師 也 不 認 識 林 海 , 眼 下 一 幢 深 灰 色 的 建 築 物 , 就 把 他 們<br />
稱 為 灰 。<br />
An archive of this series in text format is available at: LH.leekasing.com
Open/Endedness<br />
bq 不 清<br />
PLAY<br />
brown traceless footprints<br />
braid their fluffy field. a boy<br />
waits for his white hare<br />
take the turtleneck<br />
off from its inside to his<br />
outside, he stutters<br />
from blue scrambled eggs<br />
to blue snowflakes, he keeps on<br />
writing. dumb story!
a poem<br />
Holly Lee<br />
Song of the Midnight Hours<br />
Know not where we’re heading<br />
we go anyway<br />
love makes life bearable<br />
endurable, unflinching<br />
Sometimes<br />
tender moments<br />
breezy and soothing<br />
troubled hearts<br />
grazing on ripples<br />
Breathing in<br />
breathing out<br />
ticking, toking<br />
drumbeat<br />
heartbeat<br />
a war marching<br />
To hear, or not to hear<br />
a black veil of<br />
white noise, masking<br />
day and night<br />
day and night<br />
battling on, falling<br />
to rise again<br />
Jan 20, <strong>2024</strong>
Greenwood<br />
Kai Chan<br />
Collage<br />
45 x 32 x1 cm
Gary Michael Dault<br />
From the Photographs,<br />
2010-<strong>2024</strong><br />
1) Soundtrack No. 1<br />
2) Soundtrack No. 2<br />
Number 13. Soundtracks
CHEEZ<br />
Fiona Smyth<br />
You might be interested in Fiona Smyth’s book<br />
https://books.oceanpounds.com/2022/05/c456.html
Holly Lee<br />
Jinx, in front of Hong Kong Harbour, circa 1994<br />
8x10 inch, Cibachrome photograph (printed in the 90s)<br />
Number 1/20<br />
Signed, titled and numbered on verso<br />
OP Edition<br />
Holly Lee
Sketchbook<br />
Tomio Nitto
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 />
Comet
ProTesT<br />
Cem Turgay
(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 />
(2023) fly-in-love 飛 天 情 書 (Op.7)<br />
https://opus.leekasing.com/2023/01/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 />
https://opus.leekasing.com/2022/01/opus12.html<br />
(2022) “That afternoon” on Mubi, a dialogue: Tsai Ming-liang and Lee Kang-sheng (Op.13)<br />
https://opus.leekasing.com/2022/12/opus13.html<br />
OPUS Archive, an index<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 />
(2018) Thirty New Stories (Opp.14)<br />
https://opus.leekasing.com/2018/01/opus14.html<br />
(2023) Variations based on Kai Chan’s installations in “BECAUSE” (Opp.15)<br />
https://opus.leekasing.com/2023/12/opus15.html<br />
(2023) MOCA. Thomas Demand. a dialogue: (Op.16)<br />
https://opus.leekasing.com/2023/01/opus16.html<br />
(2016) Sixteen Picture Haiku I Created in 2013 (Op.17)<br />
https://opus.leekasing.com/2016/08/opus17.html
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