MONDAY ARTPOST 2024-0205

MONDAY
ARTPOST
2024-0205
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 / Sarah Teitel / Shelley Savor /
Tamara Chatterjee / Tomio Nitto / Yam Lau
+ K&G Greenwood: Monticello (Holly Lee) /
OP Edition: Hisun Wong, Ushioda Tokuko, Stephen Cheung,
Bobby Sham, Garbo & George, Yau Leung, Patrick Lee,
Joseph Fung, Ringo Tang, Kean Millar / DD ARCHIVE /
李 家 昇 小 說 Fragments for a Photograph [ 貓 ]
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
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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
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.
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
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.
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.

The OP Print Program (OP Editions) was organized by Ka-sing
and Holly in the nineties as a sideline to the renowned photography
publication DISLOCATION.
The goal was to compile a body of work through original photographs
in a portable format (8x10 inches) that reflects the photography scene
of Hong Kong during that period. The project began in 1995 and
concluded in 1999, two years after they relocated to Canada. Both
Ka-sing and Holly were in charge of curating the project, selecting
works from monographs or exhibitions that include some of the most
representative pieces from artists, encompassing the contemporary,
old generation masters, and foreign photographers based in Hong
Kong during that time.
Approximately 200 individual works were issued. In the print
program, 20 limited editions were produced and signed by the
artists. Black and white works are fiber-based gelatin silver prints,
while colour works consist of Cibachrome photographs or
chromogenic prints.
Some works in the program have already sold out. Ka-sing and Holly
are currently working on organizing these into five large volumes of
original photographs as Institution Collections for public galleries.
They are also in the process of creating a book that features the
complete body of work.
10 works from
OP Editions in the
second season of
1995.
We consider it a cross-section of Hong Kong’s photography history
in the nineties, which is an important period when Hong Kong
photography was heading towards the contemporary era.

Hisun Wong
Sculpture, The Metropolitan Museum of Art, New York
8x10 inch, transfer print, on watercolour paper (printed in the 90s)
Number 1/20
Signed, titled and numbered on front
OP Edition
Hisun Wong

Ushioda Tokuko
Refrigerator
A pair of 8x10 inch, gelatin silver prints (printed in the 90s)
Number 1/20
Signed, and numbered on verso
OP Edition
Ushioda Tokuko

Stephen Cheung
Dry Fruit #01, 1995
8x10 inch, chromogenic print (printed in the 90s)
Number 1/20
Signed, and numbered on verso
OP Edition
Stephen Cheung

Bobby Sham
Bob-pin series 1.0: Standby! The Amazing Adventure of B. B., 1993
8x10 inch, gelatin silver print (printed in the 90s)
Number 1/20
Signed, titled and numbered on verso
OP Edition
Bobby Sham

Garbo & George
Birth Garden, 1994
8x10 inch, Cibachrome photograph (printed in the 90s)
Number 1/20
Signed, and numbered on verso
OP Edition
Garbo & George

Yau Leung
Two Women
8x10 inch, gelatin silver print (printed in the 90s)
Number 1/20
Signed, and numbered on verso
OP Edition
Yau Leung

Patrick Lee
Behold (Star Fruit), 1995
8x10 inch, gelatin silver print (printed in the 90s)
Number 1/20
Signed, titled and numbered on verso
OP Edition
Patrick Lee

Joseph Fung
Yunan series, 1989
8x10 inch, gelatin silver print (printed in the 90s)
Number 1/20
Signed, titled and numbered on verso
OP Edition
Joseph Fung

Ringo Tang
Rose, 1995
8x10 inch, toned gelatin silver print (printed in the 90s)
Number 1/20
Signed, and numbered on verso
OP Edition
Ringo Tang

Kean Millar
Un Verre, 1994
8x10 inch, gelatin silver print (printed in the 90s)
Number 1/20
Signed, and numbered on verso
OP Edition
Kean Millar

K&G Greenwood
Holly Lee
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.
Monticello (Thomas Jefferson)
Over his lifetime, Jefferson grew 330 varieties of 99 species of vegetables
and herbs. Brown Dutch lettuce was his favourite, he would sow it in the fall
and harvest it through the winter months.
Here, north of the border in Toronto, a varieties of common lettuce are
available in our supermarkets; Iceberg, Romaine, Green leaf, Boston,
and Red leaf. However, other kinds should not be ignored, like Frisée,
Watercress, Mesclun, Arugula, Redicchio, Endive, spinach, kale, Bob Choi,
and cabbage which are all under the group of leafy vegetables.
Right: Vegetable Garden on the plantation at Monticello. ©Monticello
Among the roughly seventeen lettuce varieties recorded by Thomas Jefferson
in Monticello’s vegetable garden, the Brown Dutch Lettuce stood out as
the most frequently planted species. It might also be the historic lettuce
mentioned as early as 1731 by British botanist Stephen Switzer. Brown
Dutch Lettuce has small, loose heads that are bronze-tinged with deliciously
crispy large leaves. The seeds are still available today through many seed

Right: Aerial view of Monticello. ©Monticello
shops, and for six Canadian dollars, one can get a packet of 250 organic,
heirloom seeds.
In 1772, Thomas Jefferson, the third U.S. president, built Monticello
near Charlottesville, Virginia, on the plantation that he inherited from his
father. It served as his family home for over 50 years until his death in
1826. During his presidency (1801-1809), he annually spent three months
at Monticello, amassing a world-class collection of art, books, porcelain,
and furniture. Working on the 5,000-acre estate, he cultivated vegetable
gardens, vineyards, and an orchards. Following his death and facing
debts, Monticello was sold in 1831; Uriah Levy purchased it in 1834, later
transferring it to his nephew, Jefferson Monroe Levy. The Levy Family
restored and stewarded Monticello until 1923 when it was acquired by the
Thomas Jefferson Foundation, Inc., preserving and opening it to the public
for over a century.

A general impression of the vast plantation is provided by a tourist map
of Monticello. The house, designed by Jefferson himself, is situated in the
northeast, separating the East lawn and West lawn. A meandering loop
surrounding the west lawn is the flower gardens, also known as the Flower
Walk. Over a hundred flower species can be observed here. On the southeast
slope perched the famous terraced vegetable garden, which is 1,000 ft long
by 80 ft wide, covering up to 2 acres of the entire land. Further south are
the vineyards, a fruit garden for berries, orchards. In Jefferson’s time, he
had 160 types of trees on his plantation. Groves contained both native and
foreign trees, while decorative trees were grown near the house. Mulberry
and honey locust trees formed paths along his roads, and sugar maple and
pecan trees were planted in designated areas.
History left a significant scar on Thomas Jefferson as well. He couldn’t have
managed and maintained this vast plantation without the labor of enslaved
people inherited from his father. This leads me to believe that, aside from
being his hobby and experiment, the cultivation of food gardens also served
as a practical and productive means to sustain the livelihood of his large
workforce. The weight of guilt associated with slavery was much lighter at
that time than it is today. For many centuries, in the pursuit of progress and
civilization, the Western world was caught up in a race of colonialism, where
human rights were nowhere to be found.
Today, visitors strolling through the grounds of Monticello can trace their
experience back to the time of Thomas Jefferson, thanks to the extensive
restoration efforts carried out over decades. A special acknowledgment goes
to Peter Hatch, the former Director of Gardens and Grounds at Monticello,
whose exceptional guidance led to the restoration of Jefferson’s distinctive
vegetable garden in 1979. This garden now boasts the same diverse array of
plants that Jefferson passionately cultivated in the early nineteenth century.
In addition, Hatch has written several books on Jefferson’s gardens. At
the advanced age of 75, the final lecture by Hatch on Monticello and the
growing culture there was held in 2020.
Thomas Jefferson’s handwritten planting records. ©Monticello

Monticello gained fame not just as the home of a former U.S. president
who penned the Declaration of Independence. Thomas Jefferson, with his
refined taste as a dedicated food enthusiast, indulged in his love for wine
and French cuisine, leading him to passionately grow and experiment with
various crops in his vegetable garden. Jefferson is credited with introducing
macaroni, cheese, and ice cream to America, popularizing these culinary
delights. Notably, food historian Thomas J. Craughwell refers to Thomas
Jefferson as America’s first gourmet. Throughout his residency, Monticello
was teeming with guests, friends and diplomatic dignitaries, both local and
from abroad. Jefferson was known for his generosity, he would lead them
enthusiastically to the vegetable and fruits gardens, showing them the
abundance and great varieties of foods grown in the plantations. As evening
drew closer, he would invite for them to join him for dinner and even offered
accommodations for the night in his splendid estate.
There is a short story written by Cynthia Martin about a friend’s visit
to Monticello. As Thomas Jefferson accompanied him on a walk in the
vegetable garden, listing from memory, he recounted the varieties of
vegetables he was growing there (he kept a garden book as his horticultural
diary): sweet potatoes, corn, black-eyed peas, turnip greens, cucumbers,
cress, endives, radishes, lettuces, chicory, mustard greens, chives, cabbage,
spinach, pepper grass, asparagus, mushrooms, tomatoes, okra, cauliflower,
broccoli (purple, white, and green), eggplants. In the story, she gave an
imaginary account of the mouth-watering dinner menu, which, after thorough
research, were all Jefferson’s favorite foods.
• Pea soup. Salad of fresh lettuces with sesame dressing
• Fricassee of chicken and roasted pork
• Baked macaroni, creamed celery, sorrel with eggs, and cauliflower with
brown sauce and onions
• An assortment of breads and for dessert, blanc mange with almonds,
compote of pears
• Sponge cakes and vanilla ice cream, a new variety of coffee with dessert.
Holly Lee: K&G Greenwood original postcard - Monticello (Thomas Jefferson)
144mm x 100mm, 2024

To my delight, I also found recipes in use at Monticello in another book:
‘The Jefferson Cook Book.’ While many recipes are challenging to follow,
here is a simple one on how to make an onion sauce: Boil 8 or 10 large
onions. Change the water two or three times while they are boiling. When
enough chop them on a board to keep them a good colour. Put them in a
saucepan with a quarter pound butter and 2 spoonfuls thick cream. Boil it a
little and pour it over the ducks.
In his retirement, Thomas Jefferson remained engaged in writing, reading,
listening to music, and tending to his vegetable garden. In the garden,
he conducted experiments, cultivating rare spices acquired from various
countries. Concurrently, he undertook a significant project – overseeing the
design and founding of the University of Virginia. His affinity for the garden,
flowers, groves, and walks remained unwavering. In expressing his passion,
he wrote, ‘No activity brings me greater joy than cultivating the earth, and
no form of cultivation rivals that of the garden.’
Cultivated spaces and the beauty of nature seem like distant dreams for
only a select few. For those originating from Asia, the American dream often
boils down to the desire for a house with a garden. Sadly, my hometown, a
city with minimal garden culture, offered little exposure to such aspirations.
Even though I now reside in Canada, I can only resolve the absence of a
garden by growing interior plants. Nevertheless, my neighborhood boasts
numerous small houses featuring front yards. It was during my frequent
walks that I got acquainted with Mr. Wong, a neighbor tending a vegetable
garden in front of his house. Together with his mother, they divided the
space to grow winter melons and string beans. I regularly pause to admire
the sprawling melon vines, adorned with large lobed leaves and golden
yellow flowers, gracefully climbing wooden trellises that Mr. Wong built.
Photograph by Glenn Beech at home, Greenwood (2024)

The tender tendrils, bearing soft, dense hair, shine brilliantly in the morning
sun. Mr. Wong, a migrant from Guangzhou, the same southern Chinese city
as my ancestors, shares a connection with me. Reflecting on rural practices
in China, where vegetables were traditionally grown around houses,
encountering a house with a vegetable garden in my current surroundings
leads me to presume its inhabitants are likely from China or other parts of
Asia.
During the pandemic, my daughter embarked on growing potted plants in
her third-floor apartment. The space is now infused with the refreshing air
released by various indoor plants: snake plant, ZZ plant, philodendron,
spider plant, calathea, a medium-sized money tree, and a small hobbit jade.
She’s also cultivating broccoli sprouts, a delightful addition to my daily
breakfast. Just a month and a half ago, she purchased box kits for fostering
mushrooms. There are two kinds: lion’s mane and oyster mushrooms.
Unfortunately, the lion’s mane didn’t flourish and began to exhibit signs of
dark mold, marking it as a failure. In contrast, the oyster mushrooms burst
forth like a magical trumpet, blasting out a song of triumphant glory. She
harvested the bunch at the right time, and they ended up in the small wok,
delicately stir-fried with olive oil and minced garlic.
Left: Oyster mushroom in bloom

The Photograph
Selected by
Kamelia Pezeshki
Hear Me Cry, 2023 by Arash Safavi

Greenwood
Kai Chan
Drawing
22 x 35 cm, ink on paper

( 林 海 ) Fragments for
a photograph
Lee Ka-sing 李 家 昇
( 貓 )
林 有 一 張 他 和 他 的 貓 一 起 在 畫 廊 的 照 片 , 貓 的 頭 倚 著 林 , 眼 神 這 樣
說 「 哩 , 這 是 我 的 林 」。 照 片 是 J 拍 的 。J 幾 年 前 已 經 去 世 。 貓 在 去 年
亦 已 經 不 在 。J 本 來 是 多 倫 多 一 名 活 躍 攝 影 師 , 出 身 自 不 錯 的 家 境 。
他 常 來 畫 廊 與 林 聊 天 。 每 次 看 見 他 都 是 衣 著 有 方 , 隨 意 但 不 是 隨 便 的
人 。J 去 了 紐 約 ,911 後 他 情 緒 受 不 了 , 回 到 多 倫 多 來 。 不 過 已 沒 有
從 前 那 麼 風 光 。 這 裡 凳 子 不 多 , 你 離 開 後 自 有 人 立 刻 移 前 , 回 來 後 那
寸 位 子 已 經 不 在 。 他 來 聊 天 口 中 總 是 林 林 種 種 不 切 實 際 的 奇 怪 計 劃 。
林 喜 歡 那 幀 照 片 , 把 它 放 在 自 己 的 網 頁 , 圖 小 小 的 , 可 惜 沒 有 留 下 一
個 較 大 的 檔 案 。 林 稱 自 己 的 貓 為 M。 他 的 貓 是 女 兒 從 保 護 動 物 協 會 領
養 的 。 林 的 女 兒 愛 貓 , 預 先 採 好 了 名 字 , 不 管 是 雄 或 雌 。 我 想 她 其 實
心 目 中 是 希 望 有 頭 女 貓 , 所 以 名 字 較 近 於 陰 柔 , 後 來 選 獲 卻 是 一 隻 男
的 。 林 為 免 貓 的 尷 尬 , 替 貓 的 名 字 加 上 了 一 個 尾 段 , 頓 時 名 字 變 得 中
性 , 甚 至 更 趨 近 男 方 。 整 個 名 字 的 前 後 組 加 起 來 , 讀 音 接 近 一 個 日 本
攝 影 師 。 所 以 每 每 呼 喚 貓 , 就 令 人 想 到 那 攝 影 師 。 那 是 一 位 林 頗 喜 歡
的 攝 影 師 , 雖 然 說 不 上 是 心 儀 。 他 在 八 十 年 代 剛 剛 開 始 受 人 注 目 , 當
時 林 在 一 份 美 國 出 版 的 攝 影 雜 誌 讀 到 一 篇 長 長 的 , 關 於 那 攝 影 師 的 訪
問 。 說 起 來 , 那 份 雜 誌 可 能 現 在 還 存 放 在 林 海 的 地 庫 。 林 喜 歡 讀 雜
誌 , 他 說 自 己 的 知 識 大 部 分 都 是 從 雜 誌 中 來 , 在 八 九 十 年 代 , 知 識 要
是 編 寫 成 書 然 後 出 版 還 得 要 經 過 一 段 較 長 的 時 間 , 倒 是 雜 誌 中 有 最 新
近 的 知 識 及 資 訊 。 唉 , 這 都 是 前 互 聯 網 的 年 代 。 那 個 年 代 , 林 和 海 每
天 晚 上 都 是 一 起 閱 讀 雜 誌 , 各 種 各 樣 的 雜 誌 , 大 家 互 相 討 論 。 就 是 這
樣 , 大 家 成 長 起 來 。 當 時 , 那 攝 影 師 剛 剛 發 表 了 一 組 作 品 , 是 拍 攝 美
國 的 中 古 電 影 劇 院 。 黑 暗 中 用 長 時 間 曝 光 , 把 整 個 舞 台 拍 攝 得 發 光 ,
很 是 超 現 實 。 當 然 , 林 一 看 便 懂 得 其 中 技 法 的 奧 妙 , 因 為 觀 眾 席 和 舞
台 的 光 度 有 很 大 的 比 差 , 要 是 座 席 曝 光 正 常 , 舞 台 想 當 然 是 曝 光 過
An archive of this series in text format is available at: https://LH.leekasing.com ( 覽 閱 上 文 或 全 本 )

度 。 不 過 林 佩 服 這 攝 影 師 以 這 個 不 艱 深 的 技 巧 , 去 達 成 他 整 組 作 品
的 超 現 實 目 的 。 林 喜 歡 超 現 實 。 其 實 林 喜 歡 超 現 實 是 他 還 沒 有 開 始 攝
影 的 少 年 時 期 , 那 時 候 他 寫 詩 , 愛 讀 台 灣 現 代 詩 。 台 灣 當 時 現 代 詩 的
超 現 實 傾 向 是 受 西 方 的 超 現 實 風 氣 影 響 , 有 的 消 化 了 才 融 會 進 來 , 有
的 還 沒 怎 的 被 消 化 。 林 喜 歡 洛 夫 , 其 實 林 當 時 也 喜 歡 余 光 中 , 雖 然 兩
人 都 在 超 現 實 的 問 題 上 作 過 論 戰 。 又 過 了 很 長 時 間 , 林 才 知 曉 當 時 台
灣 的 超 現 實 傾 向 是 有 著 箇 中 原 因 , 那 個 時 候 , 寫 詩 要 是 政 治 不 正 確 ,
被 發 現 了 也 還 得 要 坐 牢 。 所 以 社 會 的 成 長 還 是 需 要 一 點 時 間 。 那 攝 影
師 過 了 一 段 時 間 又 發 表 了 另 一 組 作 品 拍 攝 關 於 水 平 線 , 林 開 始 明 白 ,
即 使 是 那 組 劇 院 照 片 , 箇 中 關 於 靜 觀 的 哲 學 性 思 考 更 大 甚 於 超 現 實 的
表 達 。 林 在 他 的 貓 去 世 前 四 天 為 貓 拍 了 一 張 照 片 , 這 張 照 片 收 編 在 林
最 近 出 版 的 一 冊 攝 影 集 最 後 一 頁 , 作 為 對 M 懷 念 。 林 和 他 的 貓 一 起 已
經 十 八 年 , 看 著 牠 的 童 年 慢 慢 步 入 老 年 , 按 照 貓 齡 與 人 齡 的 差 比 換
算 ,M 已 經 趕 上 了 林 ,M 去 世 時 應 該 是 與 林 兩 年 前 去 世 的 父 親 相 若 ,
九 十 多 歲 耳 。 只 是 林 和 海 的 心 目 中 , 牠 還 是 頭 小 個 子 。 貓 去 世 前 四
天 的 那 幀 照 片 , 眼 神 凝 聚 , 像 是 正 在 沉 思 甚 麼 的 智 者 。 牠 是 在 想 牠 前
面 的 路 一 大 塊 漆 黑 , 在 想 像 來 世 還 是 , 正 在 將 過 往 的 記 憶 一 一 重 組 ,
像 Mekas 的 電 影 一 樣 , 將 十 九 年 的 往 事 快 速 濃 縮 成 為 一 本 48 小 時 的 電
影 。 林 的 女 兒 想 ,M 會 轉 世 , 轉 換 成 為 下 一 頭 她 將 要 撫 養 的 貓 。M 現
在 一 身 烏 黑 , 四 蹄 踏 雪 , 下 一 回 應 該 換 換 毛 色 , 免 得 又 呼 喚 出 傷 感
的 記 憶 。 林 沒 有 輪 迴 的 念 頭 。 林 倒 是 拍 過 一 張 關 於 輪 迴 的 照 片 , 這 照
片 並 揉 合 了 一 段 林 寫 的 文 字 , 是 為 作 品 的 一 部 分 。 原 來 版 本 是 英 文 ,
後 來 林 將 該 作 品 做 了 個 比 較 接 近 的 中 文 本 :「 有 人 說 當 你 步 入 再 生 輪
迴 , 能 夠 誦 背 幾 首 詩 篇 可 能 有 助 建 世 主 調 度 新 築 的 宇 宙 。」 林 在 末 端
的 結 語 最 吊 詭 「 我 嘀 咕 疑 信 參 半 」, 但 倒 可 以 看 出 林 關 於 輪 迴 與 詩 的
想 法 。 林 與 貓 的 溝 通 很 特 別 , 他 們 幾 乎 全 不 用 口 講 的 語 言 , 只 有 眼 神
和 按 摩 的 手 語 。 可 能 貓 深 懂 林 拙 於 辭 令 。 其 實 M 和 牠 三 個 最 至 親 的 人
都 採 取 不 同 的 溝 通 方 法 , 貓 總 有 和 人 不 一 般 的 智 慧 。M 尤 其 特 別 , 尤
其 懂 得 用 眼 睛 說 話 。 貓 離 開 的 那 個 晚 上 , 離 世 前 的 兩 個 小 時 , 林 抱 起
牠 , 讓 女 兒 替 牠 睡 的 地 方 挪 換 一 方 新 的 毛 氈 。 牠 的 身 體 已 沒 多 大 氣 力
可 以 動 彈 , 牠 把 眼 神 慢 慢 移 左 凝 望 著 林 , 好 像 對 林 說 , 怎 樣 呢 , 我 快
要 離 開 了 。 這 個 眼 神 如 一 張 林 拍 攝 的 影 像 負 片 , 深 深 的 藏 在 林 的 記 憶
裡 , 甚 麼 時 候 就 投 射 出 一 張 照 片 開 來 。 兩 個 小 時 後 海 用 內 線 電 話 告 訴
正 在 工 作 室 的 林 , 你 上 來 三 樓 吧 , 貓 去 了 。 貓 年 青 的 時 候 , 林 常 常 替
牠 按 摩 , 舒 活 筋 骨 , 貓 樂 極 。 有 一 回 , 林 因 為 一 些 甚 麼 事 不 如 意 , 情
緒 低 落 , 坐 在 沙 發 抱 著 貓 , 邊 想 著 他 不 如 意 的 事 情 , 邊 按 摩 著 貓 , 貓
覺 得 這 一 回 與 從 前 的 很 不 同 , 林 的 手 好 像 會 說 話 , 他 力 度 節 奏 隨 著 沉
思 起 伏 。 漸 漸 , 貓 與 這 個 頻 律 搭 上 了 , 一 個 彈 琴 的 人 一 個 聽 琴 的 人 。
從 此 ,M 就 認 定 了 這 種 語 言 , 牠 覺 得 林 很 不 一 樣 , 於 是 就 對 林 更 加 依
貼 。 每 見 林 坐 下 , 便 示 意 問 林 , 可 否 坐 到 他 的 膝 上 來 。 林 佩 服 貓 有
此 卓 見 , 林 其 實 真 是 一 名 按 摩 高 手 , 只 不 過 他 的 武 功 不 屬 甚 麼 嫡 傳 門
派 。 三 十 年 前 , 海 病 了 。 做 過 手 術 後 , 海 漸 漸 深 覺 應 該 與 藥 物 及 當 下
的 醫 療 方 式 有 個 距 離 , 因 為 她 身 上 壞 的 好 的 東 西 都 一 同 被 對 方 毀 掉 。
是 這 個 時 候 林 開 始 研 究 推 拿 , 他 看 書 及 摸 索 穴 道 , 希 望 可 以 幫 助 海 舒
緩 通 暢 她 已 被 破 壞 了 的 免 疫 系 統 。 已 經 是 二 十 多 年 了 , 林 每 天 如 常 晨
早 或 半 夜 , 總 會 替 海 推 拿 一 至 兩 小 時 。 林 漸 漸 領 悟 到 推 拿 不 光 是 指 式
與 穴 位 的 對 應 , 感 情 帶 動 力 度 猶 如 語 言 輕 重 , 能 量 遞 送 收 放 施 受 者 的
開 閤 。 林 也 因 此 在 無 意 間 鍛 練 了 自 己 的 氣 功 。 林 不 會 開 車 , 但 他 倒 明
白 一 個 深 懂 弄 車 的 人 每 坐 上 駕 駛 座 上 , 整 個 軚 盤 及 道 路 就 會 在 他 的 手
中 自 然 流 動 。 所 以 他 再 沒 有 去 深 想 關 於 穴 位 和 地 圖 。 林 現 在 想 來 , 貓
的 卓 見 也 因 而 令 牠 得 天 獨 厚 ,M 應 該 是 除 了 海 之 外 , 可 以 領 略 到 林 推
拿 絕 技 的 第 二 人 , 雖 然 , 牠 接 觸 到 的 只 是 一 個 略 化 的 版 本 。

Sketchbook
Tomio Nitto

Poem a Week
Gary Michael Dault
the drug store
advises getting the water
you know you’ll need
there’s a broken house
nobody can sell
displaying “lots of character”
THE NAPANEE GUIDE
FOR FEBRUARY 19, 2020
There’s Mohawk upset
and modest progress
in the hand-held talks
committees are being urged
to action before
the spring floods run
Highliner Sole Fillets
are available today frozen
for $3.99 they say wild caught
there’s tension
about road salt
for next winter
Poppy is the pet of the week
she’s had her kittens
and wants a pillow in the sun
an estranged dad
is angling for an intro
to his children
“Here’s My Card”
says a newspaper accountant
in forceful type
Maple Leaf Tours
claims “it made me look”
at its shining ad
you can buy
a 2017 Ford Focus
for fourteen grand
(it has a back-up camera)
maybe drive away

CHEEZ
Fiona Smyth
You might be interested in Fiona Smyth’s book
https://books.oceanpounds.com/2022/05/c456.html

Leaving Taichung
Station
Bob Black
A story about echos
“We are an echo that runs, skittering,
Through a train of rooms.”—Czeslsaw Milosz
i
once we galloped against one another in the backseat of your father’s car
humidity a drape of kisses, falling stars unbuttoned against our throats
shaggy hair caught between teeth, the back window stuffed my language tight
your breasts awoke beneath the tremor of my unbuckled hope, so it seemed
in the night we learned more of ourselves than we dared
all those drive-by starts charting a teen mythology and rocket launches in the dark over the cape
we trapezed fear and broke our lives toward the police light
and off we were
mountain, macadam, deer leaping over a Pocono ditch
our syllables awkward as our fingers
where are you now decades gone, an echo skittering
have I exaggerated this with age
have I aged the exaggeration into song
every lit window in the dampened dark imagined by our breath, so it seemed
then
Author’s Note:
This is the first part of a three part poem that began in an image which came to me in a dream after
beginning poet Diana Khoi Nguyen’s remarkable new collection Root Fractures.
The poem is dedicated to my father, my friend the poet Chiwan Choi and my son. Three remarkable
men.
how many of us in the dark in the park in a town in a state scattered over the nation
how many of bodies caressed the same delinquent moon with moonshine desire
a goodyear of loss and laundry taken up, hung up on the land’s learning
the bootlegger and the apple trees listening up the holler
ask yourself as the lights descend and
the end of things in the night pulls, yet another dark bend
as time still abandons us, piled and frayed in another leaf-strewn corner

ProTesT
Cem Turgay

Open/Endedness
bq 不 清
FRUIT HAIKU
basket of apples —
a new set of multiverse
waits to be consumed.
watermelon night —
constellation cut in half,
blood on the table.
a lemon, a lime
an orange… orbit around
a fireball. all burnt.

Black Flowers: Drawings
by Malgorzata Wolak Dault

Travelling Palm
Snapshots
Tamara Chatterjee
Madagascar (March, 2010) – I was definitely
not prepared for the odyssey ahead,
adventuring in what the locals called ‘zebu
4x4’. We arrived in the middle of nowhere; to
find a rather medieval looking wooden cart and
two huge zebu being harnessed and hitched to
what turned out to be our transportation. We
were hauled; tossed and shaken about through
marshes and swamps filled with water lilies,
under tamarind trees and eventually through
rice paddies. The mise-en-scène was rather
glorius.

Gary Michael Dault
From the Photographs,
2010-2024
Number 15: Napanee Plaza

Caffeine Reveries
Shelley Savor
You might be interested in Shelley Savor’s book
https://books.oceanpounds.com/2022/09/mcmc.html
Dragon Days

DOUBLE DOUBLE webzine archive 2019-2021
DD ARCHIVE
DOUBLE DOUBLE was initially released as a weekly online zine,
spanning from January 4, 2019, to December 31, 2021, with a
total of 158 issues. Subsequently, it underwent a transformation
into book-on-demand and online flipbook formats.
DOUBLE DOUBLE was initially released as a weekly publication,
spanning from January 4, 2019, to December 31, 2021, with a
total of 158 issues. Following this, it underwent a transformation
into book-on-demand and ebook formats, transitioning into a
monthly release structure. This monthly publication continued
from January 2022 until the end of 2023. As of 2024, the
frequency of publication shifted to a quarterly basis. Despite
these changes, the content consistently maintained its focus on
the archival material from Ka-sing and Holly, new works, and
collaborative pieces.
Published by Ka-sing and Holly, DOUBLE DOUBLE is a pilot and
ongoing project focused on archiving their creative work and
art-related activities from the past five decades. It also serves as
a showcase platform for their current works, including writings
and photography.
We are currently working on transcribing the HTML web files
into the PDF flipbook format, which is more stable for archival
purposes. Starting from this issue of M, we will feature this
archive edition every week.
These 158 issues of the web zine also serve as raw material,
including pictures and writings, contributing to the books and
publication projects that Ka-sing and Holly are currently working
on.
0111-2019
(edition January 11, 2019)
Objects of Mythical Power. Five poems
(Holly Lee) / TIME MACHINE,
photographs (Lee Ka-sing) /
PAPER TALK - Posing (Holly Lee)

CURRENT WORK 1
Objects of Mythical Power
Five poems (with image) by Holly Lee
[Objects of Mythical Power], I
I am as vocal as my cat
we sing a duet
when I threw him a ball
he outplayed me
\
(A commissioned painting of Suki by Tony Taylor)

[Objects of Mythical Power], II
Wielding round shield and sword
this indigo warrior
clinging to his triangular helmet
advancing like a Dalek
No less mythical
when Herschel discovered cyanotype
who could have imagined
the dead, could leave a living image
(H+K Collection. Cyanotype by John Fiorucci)

[Objects of Mythical Power], III
Hello
Hello
are you there
fallen twig
from a hibiscus plant
No earth to grasp
flow freely as grass
you are morphing
into bone dried stem
waving like a peacock fan
Do you remember
your previous body
has healing power
your big red flowers
make good tea for afternoon hours
(Roots of a hibiscus plant in a wine bottle)

[Objects of Mythical Power], IV
The Wolf from Nagai
He combs my hair
He stands to greet
He howls and guards
at full moon’s bliss
I hear him
I see him
in slow motion
turning suspiciously
to ward off evil spirits
And if that isn’t enough
he’ll climb into my dream
his pack of four
no earth to land
he’ll keep his balance
on one big branch
The wolf from Nagai
cries, some nights
he has four heads
eight eyes
Cerberus the dog has three
Bast the cat goddess
lives nine lives, at least
(Detail of a scarf, a work by Kazumasa Nagai)

[Objects of Mythical Power], V
There’s a curable kind of
blindness
when one gets old
Magni helps you
get real close
teeny tiny letters
could read them all
There’s another kind of
vision
one’s not born with
Bino helps you
see far ashore
Jesus’ portrait on tesserae
on Hagia Sophia’s wall
There’s a distant kind of
friendship
one may have lost
objects always remind you
when brain roams off
Mickey and Minnie
or, Magni and Bino
come when call
(Mickey and Minnie. A gift from Hideo Suzuki)

CURRENT WORK 2
Six photographs from TIME MACHINE
series by Lee Ka-sing, with haiku
by Gary Michael Dault
Update
TIME MACHINE was published by OCEAN POUNDS in 2022
180 pages, 8x10 inches
https://books.oceanpounds.com/2021/12/tm.html

Constellation
Like a football
helmet in space
writhing with perforation
(constellation), 2017

Sweet Home Sweet
the soul
a sugary bubble
in vulvic space
(soul), 2017

Radar
the all-seeing weave
plaited by the fingers
of floodgate war
(radar), 2017

Careful careful
hope is hoisted
into view
a monstrous invitation
(hope), 2017

Question
questions have eyes
that stare
from skeins of asking
(question), 2017

Novel
in my novel
are many mansions
still unfinished
(novel), 2017

PAPER TALK
Posing
Written by Holly Lee
(top)
阿 芳 , 你 擺 好 甫 士 未 呀 ?
係 喇 , 隻 手 低 啲 。 唔 得 ,
遮 住 細 佬 個 頭 㖭 。 嚟 啦 ,
影 多 一 張 , 趁 住 重 有 啲 側
光 。
(middle)
Okay now, you look gorgeous,
hold it! Yes, the light is just
right. Oops it’s windy. Maybe
you try to look the other
way. That’s great, try to relax
your hands. Don’t worry, the
crocodile is not in the picture.
(bottom)
You are a very nice boy
Timmy. Let’s make good
friend with the crocodile.
Show us some teeth...okay
Pelicans are your friends too.
Let’s take another picture
before they pick up your hat.
A Female Painter, 1962. Hong Kong. Photo by Ngan Chun-tung.
(middle) Resort photographer at Work. 1941. St. Petersburg,
Florida. Photo by Walker Evans. (bottom) Unidentified
photographer. 1940. Private Collection, Paris
顏 震 東 , 是 香 港 攝 影 界 前 輩 。 拍 攝 在 六 二 年 的 這 張 照 片 ,
無 意 地 保 留 了 若 干 東 方 味 道 。 雖 然 東 方 的 女 性 之 前 已 傾 倒
於 西 方 文 化 , 但 傳 統 衣 服 的 身 影 仍 在 。 我 們 猜 想 照 片 的 地
點 可 能 是 在 某 離 島 , 下 午 接 近 黃 昏 時 分 。 在 歐 洲 和 美 國 ,
早 在 十 九 世 紀 攝 影 術 已 經 流 入 小 數 女 性 手 上 。 所 以 Walker
Evans 在 1941 年 拍 攝 到 在 渡 假 村 作 業 的 女 攝 影 師 並 非 稀 奇 。
這 又 令 我 們 想 知 道 , 在 巴 黎 某 藏 家 手 中 這 幀 照 片 , 當 年 在
這 個 渡 假 勝 地 拍 攝 男 童 的 那 個 人 , 會 不 會 就 是 剛 才 那 位 女
攝 影 師 呢 ?
Orientalism and Westernisation. There was a time when the elites
of the East learnt eagerly from the West. Now the people of the
East devours everything from the West, lifestyles, technological
advances. The West shifts a reverse gear, it is aware of the steep
cliff in front of them. Like they first discovered the three forms of
water, the people of the West get into Taichi, Haiku and Om.

BOOKSCAPE
Bookshelf at the Candy Factory Loft, 2003, Lee Ka-sing
8x10 inch, a direct negative image on Azo fiber base paper

VINTAGE
Holly, photographed in the early 90s by Lee Ka-sing
4”x5”, Ilfochrome photograph
This was a test shot taken directly on Ilfochrome photographic paper
with a 4x5 camera. Since the early nineties, our studio maintained
a small facility of Ilfochrome processing, for experimental purpose
and personal projects. We made colour photograms and filmless
direct photography. Some of these experiments eventually led to
commissioned assignments.

THING / OBJECT
Scarf, with art work by Kazumasa Nagai
The scarf was hanging in front of the window at our old Study,
which was on the Third Floor of the building. I took a good sum of
photographs to document the Study before we moved to the ground
floor, a new living quarter in the space of the previous gallery.
The series “Time Present and Time Past” ( 送 別 一 個 將 要 重 新
組 合 的 空 間 寫 一 首 長 詩 ) is now archived at -
https://leekasing-tptp.blogspot.com

COLLECTION
Ngan Chun-tung 顏 震 東 , 水 塘 溪 澗 , 城 門 水 塘 ,
1978 (Shing Mun Reservoir )
Vintage photograph, 16”x20”, titled, dated and
signed on verso by the artist

END NOTE
We caught Anthropocene at the AGO before
it closes down on January 6. The crowd
was great, though not an ideal afternoon
to contemplate on the exhibition. We had a
coffee at the cafeteria after the show. It was
a cold day, but warm and bustling inside
the museum shop. I am always interested
in art cards. From the spinner rack I
spotted double double, a blank card with
illustration by Wendy Tancock, card no. 104
in the Canadian Heroes series.

doubledouble.org

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