MONDAY ARTPOST 2024-0226

MONDAY
ARTPOST
2024-0226
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
+ OP Edition: Soman Lo, Lau Ching Ping,
Norman Jackson Ford, Almond Chu, Patrick Lee,
Holly Lee, Ringo Tang, Serge Clement, Mak Fung,
Stephen Cheung / DD ARCHIVE 0201-2019 /
李 家 昇 連 載 Fragments for a Photograph [ H 房 子 ]
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.

TERRAIN, seven. (Photographs by Lee Ka-sing, haiku by Gary Michael Dault
in response). Read this daily collaborative column at oceanpounds.com
Jacob’s Ladder
The golden Ascension Machine:
the slipstream of angels
up and down

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
first season of
1996.
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.

Soman Lo (1910-1992)
Still life
8x10 inch, gelatin silver print
This is a modern print, printed in 1996 by Lo’s student Yau Leung
Number 1/20
Co-signed by Yau Leung and Lee Ka-sing
Numbered and stamped on verso
OP Edition
Soman Lo

Lau Ching Ping
Untitled, 1991
8x10 inch, chromogenic print (printed in the 90s)
Number 1/20
Signed and numbered on verso
OP Edition
Lau Ching Ping

Norman Jackson Ford
Bamboo and Wall, Beijing 1995
8x10 inch, gelatin silver print (printed in the 90s)
Number 1/20
Signed, and numbered on front
OP Edition
Norman Jackson Ford

Almond Chu
Nude on Table #1, 1995
8x10 inch, chromogenic print (printed in the 90s)
Number 1/20
Signed, titled and numbered on front
OP Edition
Almond Chu

Patrick Lee
Behold (Rose), 1994
8x10 inch, gelatin silver print (printed in the 90s)
Number 1/20
Signed, titled and numbered on verso
OP Edition
Patrick Lee

Holly Lee
My Studio Beijing, 1985
8x10 inch, chromogenic print (printed in the 90s)
Number 1/20
Signed, and numbered on verso
OP Edition
Holly Lee

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

Serge Clement
From Vertige-Vestige series, 1994-5
8x10 inch, gelatin silver print (printed in the 90s)
Number 1/20
Signed, titled and numbered on verso
OP Edition
Serge Clement

Mak Fung
Gage Street, Central, Hong Kong. 1959
8x10 inch, gelatin silver print (printed in the 90s)
Number 1/20
Signed, titled and numbered on verso
OP Edition
Mak Fung

Stephen Cheung
Dry Pond Lily $02, 1994
10x12 inch, chromogenic print (printed in the 90s)
Number 1/20
Signed, and numbered on verso
OP Edition
Stephen Cheung

Poem a Week
Gary Michael Dault

… 談 笑 間 …
Yam Lau
What water taught me: delight, when our foot no longer finds its hold and our
body almost unwillingly gives in and swims.
-Agamben
Upasama-Calm
How do
you cross
the flood?
You cross
calmly –
one step
at a time,
feeling
for stones.
How do
you cross
the flood,
my heart?
You cross
calmly –
one step
at a time,
or not at all.
-an anonymous Buddhist nun
Water teaches. It teaches different things to individuals, so there is always something to be
learned from it.
I enjoy looking at water and being near it. The sound of the waves by the ocean and the
ripples from the pond put me in a restful state for sleep. The sound of water dripping from
the tap keeps me awake. And there is my kayak; it is translucent and foldable. I like how it
fits my body, no more, no less, as a good companion. Time passes without passing when we
float in the middle of the lake.
The poem “Upasama” by an anonymous Buddhist nun is a part of the Therigatha (Verses of
the Elder Nuns). These elders are the first women ordained by the Buddha.
The translation is the work of Matty Weingast.

Greenwood
Kai Chan
Drawing
35 x 35 cm, acrylic paint on paper

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

( 林 海 ) Fragments for
a photograph
Lee Ka-sing 李 家 昇
9.(H 房 子 )
餘 下 的 日 光 都 是 色 温 藍 藍 , 景 物 明 暗 反 差 逐 漸 放 軟 , 甚 至 有 些 呈 現 出
膠 著 的 狀 態 。 白 在 窗 邊 看 著 對 面 的 灰 屋 子 他 心 中 那 大 顆 的 玻 璃 水 族
[ 林 海 ] 序 目
A FICTIONAL WORK
1.( 方 桌 )
LH.leekasing.com/2024/01/0116.html
2.( 病 )
LH.leekasing.com/2024/01/0122.html
3.( 名 字 )
LH.leekasing.com/2024/01/0123.html
4.( 玻 璃 水 族 缸 )
LH.leekasing.com/2024/01/0127.html
5.( 林 的 方 吊 燈 )
LH.leekasing.com/2024/01/0128.html
6.( 貓 )
LH.leekasing.com/2024/02/0203.html
7.( 方 室 記 憶 )
LH.leekasing.com/2024/02/0212.html
8.( 詩 記 事 )
LH.leekasing.com/2024/02/0216.html
9.(H 房 子 )
LH.leekasing.com/2024/02/0221.html
缸 。 灰 的 半 透 明 窗 簾 全 都 已 經 垂 下 , 但 見 透 著 室 內 亮 著 幾 火 照 明 。 光
暖 暖 的 。 有 如 一 枚 暗 地 發 著 光 的 大 顆 琉 璃 擱 在 深 藍 色 的 街 角 。 白 總 猜
不 透 這 屋 子 , 右 半 玲 瓏 通 透 , 左 半 卻 密 不 透 風 , 只 是 偶 見 有 人 從 左 邊
冒 出 。 不 出 良 久 , 僅 有 的 魚 兒 又 游 回 另 一 方 去 。 林 在 2006 年 遷 進 這
房 子 , 那 原 是 左 右 房 子 相 連 的 一 幢 建 築 物 , 樓 高 三 層 。 林 把 兩 房 相 隔
之 牆 部 分 洞 開 , 兩 個 空 間 連 接 起 來 作 為 一 個 整 體 。 當 然 , 這 得 要 在
洞 開 之 口 加 固 , 而 且 , 尚 要 向 城 市 建 房 部 門 提 出 設 計 方 案 及 通 過 批
准 等 程 序 。 這 個 兩 本 空 間 相 連 的 房 子 , 在 下 意 識 , 林 就 以 H 為 代 碼 。
當 然 , 兩 房 相 通 之 道 , 並 不 如 那 個 英 文 字 母 , 有 著 一 條 很 長 的 走 廊 ,
相 隔 之 牆 厚 度 僅 為 20 吋 , 也 即 是 兩 個 空 間 相 連 紐 帶 之 長 度 。 此 外 ,
林 又 暗 以 L 作 為 右 房 子 那 面 北 及 向 東 相 連 之 大 窗 的 一 個 表 述 符 號 。 也
許 , 就 只 有 攝 影 師 一 類 的 朋 友 方 才 會 細 會 出 其 中 的 真 味 。 從 北 邊 過 來
的 大 塊 光 源 , 傳 統 上 就 是 攝 影 師 們 的 神 聖 之 光 。 不 過 說 也 奇 怪 , 不 光
只 攝 影 師 喜 歡 北 來 之 光 , 連 攝 影 師 的 植 物 都 是 有 著 一 樣 的 响 往 。 林 在
北 邊 的 窗 沿 有 兩 棵 樹 , 自 從 移 放 到 這 個 位 置 之 後 就 欣 欣 生 長 , 不 亦 樂
乎 。 其 中 一 棵 是 細 葉 榕 , 與 林 海 一 同 生 活 已 超 過 20 年 了 。 林 的 畫 廊
設 在 糖 果 廠 大 樓 的 時 候 , 這 棵 樹 已 經 存 在 , 當 時 樹 的 主 幹 如 彈 簧 一 樣

有 著 螺 旋 形 狀 , 當 然 , 這 是 培 育 者 的 心 思 , 而 非 與 生 俱 來 。 林 海 也 是
有 點 看 上 這 管 樹 幹 而 把 它 買 下 。 後 來 林 海 搬 家 , 榕 樹 就 安 放 在 三 樓 。
又 有 一 段 時 期 , 榕 樹 放 在 二 樓 和 三 樓 相 連 的 梯 間 , 林 在 一 首 詩 也 寫 過
它 , 說 它 在 梯 間 成 長 。 自 從 林 海 遷 移 到 地 面 居 住 之 後 , 榕 樹 當 然 是 跟
隨 著 他 們 , 也 安 放 過 在 地 面 不 同 位 置 。 但 總 不 及 現 在 的 它 , 那 麼 心 情
開 朗 。 榕 樹 在 窗 邊 , 經 過 了 幾 年 , 現 在 已 高 度 幾 乎 及 至 天 花 。 枝 椏 葉
子 籠 罩 著 那 缺 了 一 角 的 圓 形 雲 石 枱 。 林 與 海 都 喜 歡 坐 在 這 處 , 在 樹 蔭
之 下 , 享 受 從 東 或 北 邊 灑 進 來 的 陽 光 。 另 一 棵 是 菩 提 樹 , 是 林 海 一
攝 影 師 朋 友 G 送 的 。 幾 年 前 , 菩 提 樹 送 來 時 高 約 一 呎 , 現 在 已 是 五 呎
之 景 耳 。 菩 提 , 也 是 榕 屬 , 其 葉 大 , 先 端 長 尾 尖 , 葉 色 深 綠 而 葉 脈
細 緻 。 相 傳 佛 祖 在 菩 提 樹 下 悟 道 。 林 海 之 菩 提 樹 乃 G 在 佛 光 山 採 枝 所
得 , 良 種 也 。G 信 佛 。 他 攝 影 出 道 比 林 海 早 , 香 港 現 代 攝 影 的 發 展 ,
七 十 年 代 初 的 啟 蒙 時 期 , 有 一 兩 個 重 要 的 展 覽 ,G 廁 身 其 中 。 當 時 林
與 海 都 是 一 名 幼 嫩 文 藝 青 年 , 分 別 在 不 同 的 朋 友 圈 中 小 活 動 。 後 來
林 海 在 攝 影 群 中 漸 轉 為 活 躍 , 但 怎 的 也 沒 與 G 遇 上 。 倒 是 後 來 在 多 倫
多 ,G 又 從 原 居 溫 哥 華 東 移 過 來 , 一 次 機 緣 他 們 遇 上 了 。G 夫 婦 更 是
林 海 最 近 的 鄰 居 , 而 且 , 在 很 多 方 面 他 們 都 是 那 麼 接 近 。 漸 漸 , 林
開 始 更 多 一 點 領 略 到 巴 哈 的 音 樂 , 在 流 動 衝 擊 的 秩 序 , 疏 落 安 排 有 其
序 次 。 林 遇 上 海 只 因 一 次 一 大 伙 人 一 同 去 訪 問 一 名 設 計 師 。 當 時 林 與
海 都 是 在 一 所 知 名 設 計 夜 校 讀 課 程 , 海 比 林 高 一 班 , 他 們 還 沒 認 識 但
他 們 都 有 一 群 共 同 認 識 的 朋 友 。 林 海 在 設 計 學 校 畢 業 後 都 沒 有 進 入 設
計 行 業 , 倒 是 設 計 這 東 西 給 了 他 們 一 大 箇 美 麗 的 回 憶 。 林 喜 歡 這 H 房
起 研 究 構 建 自 家 的 伺 服 器 , 他 學 懂 了 一 點 寫 編 碼 的 語 言 , 從 而 做 了 一
個 作 品 「 兩 個 海 洋 的 魔 術 」(The Magic of Two Oceans,2003)。 每 進
入 這 個 作 品 , 兩 組 影 像 便 會 偶 發 性 地 在 畫 面 左 右 空 間 互 相 即 興 配 搭 。
這 個 即 興 的 鑰 匙 , 好 像 開 啟 了 林 的 想 法 , 於 是 林 就 決 定 每 天 晚 飯 之
後 , 花 十 五 分 鐘 在 自 己 的 照 片 群 中 主 觀 地 即 興 一 件 並 聯 作 品 。 林 覺
得 這 些 作 品 , 好 像 他 的 H 房 子 一 樣 , 兩 個 空 間 猶 如 兩 個 氣 場 , 交 流 吐
吶 , 川 流 不 息 。 白 只 是 看 到 半 份 空 間 , 當 然 不 明 白 全 個 組 合 的 底 細 。
也 許 , 他 對 東 方 的 哲 理 未 必 有 很 深 的 體 會 。 不 過 , 西 方 的 理 論 體 系 也
有 追 求 黑 白 空 間 的 平 衡 , 疏 密 有 致 , 只 是 沒 有 具 體 發 展 成 為 太 極 一 般
的 理 念 。 如 果 說 H 房 子 是 一 個 大 宇 宙 , 那 麼 , 各 自 空 間 又 有 如 一 伙 獨
立 的 小 宇 宙 , 自 行 旋 轉 運 作 流 動 。 如 果 說 右 空 間 是 通 疏 , 相 對 之 下 ,
左 空 間 的 濃 密 便 是 一 個 呼 應 。 左 室 空 間 的 牆 幾 乎 全 都 是 書 架 , 恰 似 一
個 小 型 圖 書 館 。 書 架 自 地 面 築 起 , 及 頂 離 天 花 約 三 十 吋 許 。 書 架 之 上
又 建 有 二 層 架 子 , 架 子 均 用 作 放 置 如 雜 誌 般 大 小 , 美 術 館 級 別 無 酸 性
儲 存 盒 子 。 南 牆 架 子 大 約 有 盒 子 百 來 個 , 都 是 用 來 放 置 八 乘 十 吋 照
片 , 包 括 林 海 , 以 及 近 百 個 攝 影 師 , 在 九 十 年 代 間 創 作 的 原 作 。 北 牆
的 書 架 橫 跨 約 二 十 呎 , 頂 部 又 放 了 近 百 個 盒 子 , 分 黑 及 褐 紅 二 色 。 是
一 個 頗 可 觀 藏 量 , 林 海 從 前 所 代 理 香 港 三 個 老 一 代 攝 影 師 的 照 片 群 。
褐 紅 色 盒 子 多 用 作 存 放 手 稿 , 圖 本 , 文 件 等 相 關 物 。 這 些 盛 放 著 八 乘
十 照 片 的 盒 子 從 前 均 放 在 右 邊 的 後 室 , 與 其 他 較 大 的 照 片 共 處 於 一
堂 。 如 果 說 照 片 中 的 影 像 可 以 呼 喚 紙 本 走 出 來 的 幽 靈 , 這 些 混 雜 斑 駁
的 人 物 事 物 , 他 們 大 可 以 再 來 重 組 香 港 的 故 事 。
子 , 他 覺 得 這 屋 子 和 他 的 理 念 很 接 近 。 在 這 十 年 間 , 林 做 了 一 組 數 量
頗 為 豐 盛 , 左 右 聯 為 一 對 的 照 片 作 品 。 影 像 有 時 並 聯 , 有 時 互 補 , 有
時 又 互 相 構 建 出 一 片 跳 彈 空 間 。 據 林 的 回 憶 , 啟 發 他 這 組 作 品 是 他 的
另 一 個 作 品 。 從 來 不 認 識 電 腦 的 林 , 當 時 因 為 工 作 需 要 , 要 與 女 兒 一
An archive of this series in text format is available at: https://LH.leekasing.com

Sketchbook
Tomio Nitto

Gary Michael Dault
From the Photographs,
2010-2024
Number 19: The Writer’s Car

Leaving Taichung
Station
Bob Black
Author’s Note:
A story of echoes
“We are an echo that runs, skittering,
Through a train of rooms.”—Czeslsaw Milosz
iiii
An approach of light, as if a door unlocking a dream
a child squints through the border, cicada shells hum on a tree’s abdomen
a sister excavates a brother’s courtship, love’s detritus unclothed in the backyard
hung like a child’s shoes whistling in the branches, the world’s fear sharpened in music
glue used up in a poem before an uncle even had a chance, in the fall
a wearied shadow leaps off a stone bridge, trout await a new god’s kerplunk
This is the third and final part of a three-part poem that began with an image which came
to me in a dream after reading poet Diana Khoi Nguyen’s remarkable new collection Root
Fractures.
This section contains that image of a dead bee. I used in part i and in part iii it is more fully
described.
Bees have always been important to me, especially the dead bees dry on a windowsill that I
always seemed to discover in my family’s home when I returned to the US from Taiwan, as a
child. It it what i first associated with America, as I do not recall seeing a bee in Taiwan as a
child, only dragonflies, butterflies, ants and giant spiders in the home.
Also, the first time I experienced death--my young neighbor Stephanie who had died when her
older sister accidentally gave her medicine she was allergic to.
She was buried in a pink coffin and her funeral is still very clear to me. When I first recovered
from my near-death coma, i thought of Stephanie and her death alot. Her best friend was
allergic to bees and was terrified of them, afraid she would die if stung.
How our fears stalk us and often misdirect our attention like god’s slight-of-hand.
Where were the hornets in my childhood? But death stood there in windows and backyards.
Is this the same for all children? More so than most of us remember or understand?
The final part is dedicated to two poets whose work I admire, which often seem to be working
that clearance in front of all us in powerful variations, Victoria Chang and Diana Khoi
Nguyen.
The stories continue.
Thank you.

fingers gooey through hair, a widower’s body taken far along pebbled banks
swung-up in the river netting of nylon and words, a story lost in corner store rubble
love’s jacket torn at the shoulder seam, sit honey pie, sit
a story takes off while a fisherman in the low country dredges up death with the shrimp
silt for poetry and the names for a book passed down and sat upon as pillows
amber hazards between country cousins, a miner scrimshaws along the black cave
planks and railing, in a dime store dreams scurry behind a turquoise counter
once that bridge carried more than a man’s body beneath, its bow
the promise of love heft in the shells semicircular canal, a lullaby hung on twigs
and your heart due south of a reckless typhoon, Do lok tin si, remember
a dream, all of it
the black sea’s wing intemperate against the city night, lights falling
vows upturn and swerve, a bat batting hard left from a cave as a player’s heart goes hard
risking life in the curve of a throw, a coin’s wrench clacking in a suit pocket gamble
the songs of the girls in the night, tinker tailor soldier whore
were you there when the sailors stole kisses beneath the green neon
gum stubborn along the molars and hard on the jaw in dawn
ghosts waving 再 見 to the hills and darkness, boys asleep on bus seats
tables strung with coins, smoke gets in your eyes folded in the corner
you gambled she was worth the night, did the dragon’s luck rise
the bet, the wheel never fortunes for long when whispers between red and black
but that was long ago when childhood mattered
the storm door in the back opened with unease, a carcass on the black steps leading to the basement,
beneath the ground, bee-leaf pollens the windowsill dust and time cupped in yellow flowers, fear in
the translucent wings holding the color of stained glass, light the size of thumbnail, wasp bumblebee
carpenter ant, red-winged, the queen gone in the night, another carapace another locust shell on
a corn husk miraculously, a butterfly awakes at funeral in Jiayi, grandmother died dancing in the
burnished clear
once you too were winged by love and labor
the earth grew each time from a wounding, owl feather and canine print paw in the mud
songs swelled in the back of a raven’s throat
a black bird sat on Victoria’s outstretched arm, alabaster in the light
the heart shrivels in its cement casting, La Mer…Confond ses blancs moutons2
but all that was long ago when childhood mattered
moon caught in the bicep of a tree arm, a broken tooth hangs blue in the sky
and love comes undone at the feet of autumnal longing
but we survived
childhood the lines of the future scribbled forever on blue-lined notebooks
I name this ghosting, birth
you
dreams snarl behind thin boys’ pool cues and cigarettes
color dismounts the sky and turns inward from winter’s wake
a heart unbuttons its pale hue’d whale skin, inside out
biology’s bickering in translation gone awry
language of waking pent up in conversation in the park
the murmur of the Merry-go-round turning, the sweep of air through a child’s hair, vowels
last light lain down in the lane, the night inside out, a dumpling opened with a fork
you shall never see the same light again, an amateur’s mistake
death comes snaking up the stairs, yes ok again, green

Travelling Palm
Snapshots
Tamara Chatterjee
India (December, 2016) – We drive the scenic
route from Gangtok to the Temi Tea Estate,
stopping several times along the way. Each
time admiring the varying panorama’s of the
Kachenjunga, the tea garden estate was no
different. We had a spot of tea and a small
snack while gazing out at the gardens with the
added Himalayas as the surreal backdrop.

The Photograph
Selected by
Kamelia Pezeshki
Michigan Theatre by Anthony Macri

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

ProTesT
Cem Turgay

Black Flowers: Drawings
by Malgorzata Wolak Dault

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 year, M 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.
0201-2019
(edition February 1, 2019)
50 Gladstone, photographs (Lee Ka-sing) /
The Thinker, poem (Holly Lee) / VINTAGE - Friends,
Artists and People I Know (Holly Lee) / Sushi Grass
in Paradise, a novel (Holly Lee) / PAPER TALK -
Ara Güler & Yau Leung (Holly Lee) / BOOKSCAPE -
The Language of Fruits and Vegetable (Lee Ka-sing)

CURRENT WORK 1
Lee Ka-sing
Selected photographs from the series “50
Gladstone Avenue 吉 石 大 道 50 號 , a macro
and micro documentary in present tense”
January 30, 2019 (snowflake)

January 25, 2019 (roses)

January 25, 2019 (tree)

January 25, 2019 (crocodile)

January 25, 2019 (happy)

January 25, 2019 (M)

January 11, 2019 (armchair Dr. NO)

January 25, 2019 (space dish Broncolor)

January 25, 2019 (double)

CURRENT WORK 2
A poem by Holly Lee, with image by Lee Ka-sing
The Thinker (after Rodin)
Is it really
our time has past
couldn’t catch up
don’t really want to
is it really
a backward idea
Is it only
nostalgia
wouldn’t fall behind
don’t really want to
is it really
a clever idea
Then is it safe
to stay still
or just swim
in familiar water
it might not
be a bad idea
And, is it fair
to get despair
when all our lifetimes
can now be shared
is it not
an uplifting idea

VINTAGE
Vintage photographs by Holly Lee
Friends, Artists and People I Know
我 的 朋 友 , 藝 術 家 及 其 他
“Friends, Artists and People I Know 我 的 朋 友 , 藝 術 家 及
其 他 ”, a series of photographs which was originally made for
an invited exhibition “WOMEN OF THE WORLD”, held in
May 1981. Additional portraits were made for “camera works,
holly & wingo”, our two-person exhibition held at Hong Kong
Arts Centre (June, 1981). The project continued through 1985
and around 30 portraits were made. A portfolio case of vintage
photographs (23 counts) is still with us, which contains most of
the photographs from the 1981 exhibition.
In 2012, The Hong Kong Heritage Museum organized the
“BEYOND THE PORTRAIT” exhibition. The committee had
selected ten works from this series, which was later collected
by the museum after the exhibition. Those are newly made
Archival Pigment Prints, in the size of 17”x22”.

Friends, Artists and People I Know 我 的 朋 友 , 藝 術 家 及 其 他
16”x20” gelatin silver prints, photographed and printed in 1981
Antonio Mak Hin-Yeung (sculptor) 麥 顯 揚

Li Kam Fai (illustrator) 李 錦 煇

Mak Siu-Tong (Cantonese rod puppets master) 麥 兆 棠

Chung Ling Ling (writer) 鍾 玲 玲

Ann Hui (film director) 許 鞍 華

Tang Wong Zim (my grandmother) 鄧 旺 嬋

Helen Lai (modern dance choreographer) 黎 海 寧

Fanny Chan (studio assistant) 陳 靜 芬

Leung Kui Ting (artist) 梁 巨 廷

Chan Man (artist) 陳 文

Helga Burger (Asian performance art promoter) 布 海 歌

ARTIFACT
Friends, Artists and People I Know 我 的 朋 友 , 藝 術 家 及 其 他
16”x20” gelatin silver prints, photographed and printed in 1981
A review by Nigel Cameron on the exhibition WOMEN OF THE WORLD”, published on South
China Morning Post, May 27, 1981.
(WONG is Holly’s family name. She began to use HOLLY LEE in 1981 and keeps the name in
Chinese as 黃 楚 喬 )

CURRENT WORK 3
Sushi Grass in Paradise (A story)
written by Holly Lee
with photograph by Lee Ka-sing
(1) Bento Family
Saturday morning, cloudy with occasional showers. Mrs.
Bento woke up with a headache the minute she thought about
changing the clock to Standard Time. That meant she had to
deal with every time device in the house - the phones, the oven,
the radio with a CD player, and all the other gadgets that have
a time display on. “Can I just put myself back one hour so I
don’t have to adjust all this stuff?”. To relieve herself, Mrs.
Bento decided to fall back an hour when she’s in the house.
“Everybody just checks their cell phones for time anyway...and
what’s more, I don’t need to go back to Daylight Saving Time
next Spring.” She laid down the Standard Time business with a
sigh of relief and fell right back to dreaming.
Mrs. Bento is not Japanese. She and her husband got the
Bento name from their customers. Having immigrated with
their daughter, Ginger, from Hong Kong twenty years ago, as
soon as they arrived in Toronto, they took a friend’s advice and
bought a franchise business in the airport area in Mississauga.
It was a small sushi bar; work was hard, and no business was
easy. But with Mrs. Bento’s clever makeover of a 21st-century
home-packed meal, combining nutrition, taste, and value, the
new Bento Box proved to be a top seller. After six years of
continuous hard work, they saved up a 20% down payment to
purchase a house in downtown Toronto, in an area known as
West Queen West. The Bentos love city life, the short walk to all
activities on the street, proximity to cafes, shops, restaurants,
galleries, a supermarket, and the postal office. Nearby there is
even the Theatre Centre, newly converted from a historic library
building built way back in 1908.

PAPER TALK
Written by Holly Lee
Wooden crates as pulling carts
For back street boys
Wooden crate as pillow box
On a sidewalk bed
Run ye run
Against the setting sun
Dream ye dream
For the day is done
Left: Ara Güler - Zeyrek, Fatih, 1968
(“Ara Güler’s Istanbul”. Publisher: Thames & Hudson, 2015)
Right: Yau Leung - Wellington Street, Central Hong Kong, 1966
(Yau Leung “Growing up in Hong Kong”. Publisher: Photo Arts 1994)

H+K COLLECTION
Update
This photograph was sold in June 2019, at SOTHEBY’S, Hong Kong,
during the exhibition:
‘VISION OF HONG KONG, From Two Generations -
YAU LEUNG | LEE KA-SING” (June 6-25, 2019)
Yau Leung
Photograph printed in the Nineties
8”x10” fibre-based gelatin silver print, signed and numbered on verso
OP Selection, with “OP Selection” blind-stamp
Edition 1/100

BOOKSCAPE
The Language of Fruits and Vegetable 蔬 果 說 話
“The Language of Fruits and Vegetable 蔬 果 說 話 ” was a collaboration piece between Leung
Ping Kwan (1949-2013) and Lee Ka-sing. It presented a dialogue between poem and images
and was an installation-based continuum in Leung and Lee’s project “FOODSCAPE”. In the
FOODSCAPE exhibition in 2004, Ka-sing took the form of an artist book, which consisted of
one poem “Green Salad” from Leung’s poem series “The Language of Fruits and Vegetable”,
and 252 photographs selected from Lee’s photo series titled “dot hong kong”. Five hundred
exhibition copies were printed to present as an installation in the exhibition “Hong Kong
Foodscape” (Leung Ping Kwan, Lee Ka-sing and Millie Chen) held at the Hong Kong Heritage
Museum from July 11 to October 4, 2004. The books are 5.5” x 5.5”, 288 pages. In addition, a
limited edition of 252 copies were made and available to the public.
“The Language of Fruits and Vegetable” was published by Ocean and Pounds and Hong Kong
Heritage Museum in 2004.
Publication designed by Lee Ka-sing

doubledouble.org

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