MONDAY ARTPOST 2024-0311

MONDAY 

ARTPOST 

2024-0311 

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 

+ If Sculpture Could Talk (Bill Grigsby / Holly Lee) / 

OP Edition: Holly Lee, Asca Aull, Patrick Lee, Mary Padua, 

Carsten Schael, Leo Chan, Almond Chu, Joseph Fung, 

Brenda Turnnidge, Mamoru Horiguchi/ DD ARCHIVE / 

李家昇連載 Fragments for a Photograph [ 起跑線 ] 

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. 

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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 

Citrus Grandis 

The photographer’s confession: 

this putty-coloured fan, flower, 

windmill, first covered a fresh pomelo

TERRAIN available at BLURB 

TERRAIN, one 

https://www.blurb.ca/b/11625068-terrain-one 

TERRAIN, two 

https://www.blurb.ca/b/11640008-terrain-two 

TERRAIN, three 

https://www.blurb.ca/b/11682715-terrain-three 

TERRAIN, four 

https://www.blurb.ca/b/11740766-terrain-four 

TERRAIN, five 

https://www.blurb.ca/b/11898660-terrain-five 

TERRAIN, six 

https://www.blurb.ca/b/11899037-terrain-six

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 

third 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.

Holly Lee 

Photo Studio, Guangzhou, 1980 

8x10 inch, gelatin silver print (printed in the 90s) 

Number 1/20 

Signed and numbered on verso 

OP Edition 

Holly Lee

Asca S.R. Aull 

The Boat, 1995 

8x10 inch, chromogenic print (printed in the 90s) 

Number 1/20 

Signed and numbered on verso 

OP Edition 

Asca S.R. Aull

Patrick Lee 

Venetian Pears, 1993 


Number 1/20 

Signed, titled and numbered on front 

OP Edition 

Patrick Lee

Mary Padua 

Monteverde, Costa Rica, 1995 

8x10 inch, gelatin silver print (printed in the 90s)` 

Number 1/20 

Signed, and numbered on verso 

OP Edition 

Mary Padua

Carsten Schael 

Anemone, 1994 


Number 1/20 


OP Edition 

Carsten Schael

Leo Chan 

Value of Silence, 1996 


Number 1/20 


OP Edition 

Leo Chan

Almond Chu 

Antonio’s Wardrobe (Accessories), 1992 


Number 1/20 


OP Edition 

Almond Chu

Joseph Fung 

San Francisco -China Town series, #2 


Number 1/20 

Signed, titled and numbered on verso 

OP Edition 

Joseph Fung

Brenda Turnnidge 

Untitled 1996 


Number 1/20 


OP Edition 

Brenda Turnnidge

Mamoru Horiguchi 

1/8 of an instant, 96 


Number 1/20 

Signed, titled and numbered on front 

OP Edition 

Mamoru Horiguchi

If Sculpture Could Talk: 

a collaborative work 

between Bill Grigsby, 

Holly Lee and Lee Kasing 

in a series of nine 

sculptural work. 

ONE: Poem With A Heart 

Sculpture: Bill Grigsby 

Photography: Lee Ka-sing 

Poem: Holly Lee 

Sculpture: Bill Grigsby

The Way of a Heart 

Heart, in Kanji 

is 心 

a vessel 

where the giver of life 

the red sap 

flows 

The left heart 

fuels the brain 

oxygen-rich nutrients 

raising 

dancing daffodils 

compelling the body to swing 

Dried branch of Dracaena Marginata 

Photo: Lee Ka-sing 

A wiry vessel 

embracing someone you love 

a perpetual life 

after death 

awe at its beauty 

even time stops 

Photo: Holly Lee

Poem a Week 

Gary Michael Dault 

suddenly 

explicit 

newly perked 

already 

waning 

Two Crocus Poems: 

Both of these poems were written in January (during a spate of botanical 

longing) but are being published now because of the appearance in 

our garden today (Friday March 8) of the first crocus of our spring. 

GMD 

CROCUS ONE 

time itself 

hidden 

in a qualm of earth 

beaks up 

flagrant in new 

sun 

sandy wind 

caught in 

a purple grasp 

about gold dust 

horns 

CROCUS TWO 

time 

its own 

brings 

the puzzled bloom 

up 

from the spring-driven 

clock into 

the bendable darkness 

of a lawn morning 

where 

the unclouded crocus 

brays at 

the big umbrella 

vase 

of green air 

hanging 

above the sentimental 

earth

Sketchbook 

Tomio Nitto

( 林海 ) Fragments for 

a photograph 

Lee Ka-sing 李家昇 

[ 林海 ] 序目 

A FICTIONAL WORK 

1.( 方桌 ) 

LH.leekasing.com/2024/01/0116.html 

2.( 病 ) 


3.( 名字 ) 


4.( 玻璃水族缸 ) 


5.( 林的方吊燈 ) 


6.( 貓 ) 


7.( 方室記憶 ) 


8.( 詩記事 ) 


9.(H 房子 ) 


10.( 誰來寫這個小說 ) 


11.( 起跑線 ) 


11.( 起跑線 ) 

要不是病了 , 準不會這個時分坐在這裡。凌晨四時 , 對面的白屋子 , 

燈火通明。林猜想 , 白又是通宵達旦地工作。白屋猶如一面鏡子 , 林 

彷彿看見自己當年不也就是這樣 , 孜孜不倦彻夜不眠。也許 , 這是路 

子 , 過程的一部分。林想著走過了的多個十年 , 回想起來 , 過去每每 

大約十年生活就會醞釀一個轉變。不是嗎 ? 林又重回了文字。林打量 

著再過一星期 ,S 就要從紐約過來作個為期八天的訪談。還好 , 這幾 

年間已開始將過去的逐步整理 , 輪廓線倒有一個梗概。林想到那些 , 

盛著不同故事的盒子。很多時林對於事情事物生發的年份都記得不很 

精準 , 需要各方翻查互証。不期然地林想到那個原以此為基礎的小

說。海已一口氣寫了 68 篇 , 作為一個段落。林本來是答應每人互寫 

一段 , 但總拿不出一個理想的落筆模式。海以二樓的運作作為切入 

點 , 已經很好的開展出一個體系。在那缺了一角的圓形雲石枱旁邊 , 

林坐在一張有滑轆的座椅上。這個有滑轆的辦公室坐椅 , 是林海在 

1980 年遷搬到新的工作間時購買的一枚傢具 , 韓製品。林想著 , 其 

他的東西都已經掉棄為什麼這椅子卻讓他保存下來。這個絕不是甚麼 

的中古物也非名家之品。況且 , 椅子的升降部分早已壞掉 , 長相本來 

也與環境不大協調。後來 , 林替它穿戴上不同附加物 , 也許正如林的 

多層層攝影作品 , 層層與層層之間互相扺消與提升。林坐在椅子把身 

體的重心往後稍推 , 椅子朝後移動了呎許。在圓型雲石枱邊立著的細 

葉榕 , 樹枝葉子 , 在林的眼下窗前形成了一度黑墨墨的裝飾剪影。剪 

影遠處 , 只見白屋的燈光 , 有如浮在夜間的液晶屏幕 , 也如一面照著 

對窗 , 可以呼喚往事的魔鏡。林忽然想到 , 這個應該是 , 這個要寫的 

小說之進入口了。這時 , 林也失笑 , 要不是病了 , 這個小說也不會開 

始吧。不過 , 偶然也是大概可以有跡可尋 , 當年林決定開始寫詩 , 也 

是覺得寫詩可以使用較少的文字 ; 林開始攝影 , 只因為覺得自己的繪 

寫能力太過不濟。起跑線的長相 , 也許不如一般人所想 , 那麼的富麗 

堂皇。 

An archive of this series in text format is available at: https://LH.leekasing.com

Greenwood 

Kai Chan 

Drawing 

ink on paper. 35 x 35 cm.

CHEEZ 

Fiona Smyth

Black Flowers: Drawings 

by Malgorzata Wolak Dault

Gary Michael Dault 

From the Photographs, 

2010-2024 

Number 21: White Tulips

ProTesT 

Cem Turgay

Caffeine Reveries 

Shelley Savor 

Nature Rules

The Photograph 

Selected by 

Kamelia Pezeshki 

Untitled, Toronto by Gordon Hawkins

Travelling Palm 

Snapshots 

Tamara Chatterjee 

Canada (June, 2021) – I vaguely remember 

feeling better about the change of seasons, the 

change of light, the lifting of restrictions. The 

neighbourhood got a fresh coat of paint and 

a few colourful murals to brighten the covid 

haze. For a brief moment; the light was perfect 

and my mood inspired, pondering the next 

great thing to come my way.

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. 

0215-2019 

(edition February 15, 2019) 

Sushi Grass in Paradise, a novel (Holly Lee) / 

VINTAGE - Twenty vintage Test-strips / NEW 

STORIES, from Kai Chan and Lee Ka-sing 

collaboration exhibition (Lee Ka-sing) / 

50 Gladstone, photographs (Lee Ka-sing) / 

PAPER TALK - Kenojuak Ashevak (Holly Lee) / 

Kenojuak Ashevak. Poem (Holly Lee)

CURRENT WORK 1 

Sushi Grass in Paradise (A story) 

written by Holly Lee 

with photograph by Lee Ka-sing 

(3) The Skill of Playing Dead 

Mrs. Bento 

It is almost the second anniversary of our Bed and Breakfast! 

Over the past year, we have encountered many interesting 

people whom we wouldn’t have met if it weren’t for the 

business. I keep thinking back to certain individuals who 

made an impression on me. For example, Juan stayed with us 

during the last International Film Festival. He was here for 

the film ‘La Soga,’ in which he actually played the part of the 

General! Juan was smart, funny, and knowledgeable. He loved 

eating the bread I made (almost every other day). He would put 

on this wonderfully satisfying look on his face as the lightly 

toasted bread went down his mouth. Then, he would look at 

me and express with his eyes, ‘What a great treat!’ I was so 

overwhelmed by his praises that I had to make sure my next loaf 

wouldn’t disappoint him. 

Of course, my bread is better than those bought from the 

supermarket because it is fresher. I chose a good bread maker 

after some research so that baking wouldn’t discourage me. I’ve 

had fun and been adventurous in trying out different recipes.

I share conversations with guests about the successes and 

failures of bread baking with machines. One thing that really 

surprises me, though, is my persistence. Instead of letting my 

Cuisinart bread maker sit idly like another decorative item in 

the kitchen, we work and experiment together really hard yearround. 

Mr. Bento 

A man from Vancouver came to study acting and stayed in our 

B&B. Actually, he’s retired, but he wouldn’t mind starting again 

with a new career. As a novice, the acting school advised him 

to begin by learning something simple, like the skill of playing 

dead. During breakfast, he shared some rules about the act of 

dying with great zest. 

“If you are to die in front of an audience and there’s no story 

written out for you, you need to devise a dying plan. You 

must come up with a way to die, such as faking a death by 

a heart attack, getting shot, or being stabbed. Practicing is 

very important, and you will require help from another actor 

or friend. They will tell you if it looks right. If you fall and 

surroundings permit, fall onto the grass instead of the sidewalk. 

After you ‘die,’ remain completely still. It’s best to close your 

eyes, don’t smile or make any other facial movements. Keep a 

blank look on your face, try counting to meditate, and visualize 

a calm, serene place.

VINTAGE 

Twenty vintage test-strips from 

the studio of Holly Lee and Lee 

Ka-sing (most of them were made 

in the 1990s) 

Test-strip in the lab works, is similar to the 

Polaroid to a studio photographer before an actual 

shot is made; a sketch to a painter before the final 

painting is created. People always say- time is a 

piece of mirror. When a piece of test-strip has gone 

through a number of decades, for the sake of its 

form, contents that carried, or even a memory that 

associated with, it might have become a piece of 

unique individuality, and with a new life. 

A Day in Tibet 

Ilfochrome, 343mmx65mm

With Ping-kwan in Poland 

Gelatin silver print, 150mmx210mm

Secret Tunnel at the Riverside 


Two Perfume Glass Bottles 


South Side of Summerland 

Electrostatic printing on the surface of c-type photograph, 125mmx280mm

Burning Spirits 


Time-piece with Dark Blue Backdrop 


Organ Piano, Radio and Chairman Duno 


Fountain Upside Down 


Searching Flowers According to a City Map 


Face by Face 


A Journey 


Reading the City before Arrival of a Thunderstorm 


Hong Kong Contemporary behind Bar 


Daydream of the Ground-glass from an 8x10 View Camera 


A Building with Square Tiles 


Ladder from the Blue Sky 


Two Slices of Sunkist Lemon 


“98950” 


Youthhood 

Gelatin silver print (with copper brown toner), 215mmx90mm

ARTIFACT 

DISLOCATION (NuNaHeDuo 女那禾多 ) was a photography magazine we published 

monthly, from 1992 to 1998 (with associated editors: Lau Ching Ping, Blues Wong, 

Patrick Lee). In the first three years, Ka-sing took care of the covers for most of the 

issues. In a number of consequent issues, he used test-strips from our studio, as 

design elements for the magazine masthead. It was very well received. These covers 

were featured in the design annual and publication. At the HKIPP Biennial Awards 

1995, the Test-strips series for the DISLOCATION covers won a gold award for the 

category “Best Use of Photography”. The bronze trophy was designed by the late 

Antonio Mak Hin-Yeung 麥顯揚 , our good friend, and one of the best sculptors in 

Hong Kong.

DISLOCATION covers 

Test-strips as design elements for the magazine masthead


NEW STORIES series (2018) 

Juxtaposition, story, and words by Lee Ka-sing. 

Thirty pieces of photographic paper test-strip in pairing with items provided, in a large shoebox, 

from Kai Chan. An installation, as part of the collaboration exhibition (2K 2.0) Kai Chan 

and Lee Ka-sing. GALLERY 50, Toronto, March 10 to April 8, 2018. 

Update 

THIRTY NEW STORIES series is now catalogued as Opp.14, view the complete 

body of work at Lee Ka-sing’s OPUS serial archive system: 

https://opus.leekasing.com/2018/01/opus14.html 

Three Roses (2018)

An Artificial Satellite Sending Messages to the Fake Planet (2018)

Data being Transmitted into Memory (2018)


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” 

February 7, 2019 (couple)

February 7, 2019 (blue print)

February 7, 2019 (Provoke)

February 7, 2019 (bookshelf)

PAPER TALK 

Written by Holly Lee 

My silkscreen print must have been inspired by Kenojuak, a time when I was also 

influenced by mythology. At the evening art school First Institute of Art and Design, 

I had a chance to work on silkscreen printing. This print was a small exercise. I 

don’t remember exactly what it represented. It might be Nüwa, the mother goddess of 

Chinese mythology. From her born men, birds, wolfs, snakes, grass, grains. A close, 

animistic idea shared with Kenojuak’s. Forty years ago, I wrote a poem in Chinese 

based on my imagination on Kenojuak’s life. Today I have written another poem 

based on her portrait taken by Norman Hallendy in 1968. 

Kenojuak Ashevak (1927-2013) 

The Enchanted Owl, 1960 

Stonecut on paper 

Holly Lee 

Untitled, early 70s 

Silkscreen on colour paper

A poem by Holly Lee


A poem by Holly Lee 

Kenojuak Ashevak 

She wore a garment 

showing Inuit dreams 

her dark hair braided 

snaking round her shoulder skin 

a missing front tooth smile 

A twenty-four-hour sun 

loving, warm and caring 

everything they call art 

her dreams, and daily rendering 

A woman so beautiful 

shone bright at eighty six 

silver threads hanging 

eyesight dwindling 

she clung close to the paper 

her once strong hands 

gently scribbled something 

pencil tipping 

her red fox’s name 

Kenojuak Ashevak in a Garment Showing Textile Printing, 1968. From photographs 

of Inuit Artists in Cape Dorset. Black and white print from 35mm film. 

Gift of Norman Hallendy, 1991. McMichael Canadian Art Collection Archives.

BOOKSCAPE 

Shinro Ohtake visited Hong Kong in 1979 

and 1980. In the second trip, as he noted, 

was from London to Hong Kong in August. 

Harvested from both trips, he put up a 

book of his drawings. The format and medium 

of the works as described in the book: 

“13.2x10.cm, 16.8x11.8cm, 37.0x28.5cm, 

pencil, coloured pencil, inks, adhesive paper, 

printed papers, water colour, cigarette paper, 

comic paper, coffee, tea, glue, tissues, photograph, 

film”. This book received the highest 

award at ADC in the year of 1987. I saw this 

news in a pamphlet inside Ohtake’s “EZMD” 

published in 1987, a year after LONDON/ 

HONCON. 

Shinro Ohtake visited Illustration Workshop 

when he was in Hong Kong. The suite of five 

prints (now in our collection) was a gift for 

the members of IW. We feature Ohtake here, 

also in memory of three core members of the 

Illustration Workshop, Philip Kwok, So Ching 

Yuen and Tommy Li Kam Fai, who passed 

away subsequently in the last decade. 

We used to have a large format book of 

Shinro Ohtake, like a retrospective collection 

of his paintings, drawings and artist-books. 

The book was borrowed by a friend and was 

never returned. Shinro Ohtake’s artist book 

is always our beloved, along side with Peter 

Beard and Henrik Drescher’s.

《LONDON/HONCON》1980 倫敦 / 香港 

Shinro Ohtake 大竹伸朗 

Publisher - Yobisha 用美社 , 1986. 

ISBN-946419-39-x

H+K COLLECTION 

Shinro Ohtake 大竹伸朗 

Electrostatic print on plain paper, from Shino 

Ohtake’s notebook. One from a suite of five 

works, 11.5x16.5 inches each. Signed and 

dated by the artist (1979)

doubledouble.org

Under the management of Ocean and Pounds 

Since 2008, INDEXG B&B have served curators, artists, 

art-admirers, collectors and professionals from different 

cities visiting and working in Toronto. 

INDEXG B&B 

48 Gladstone Avenue, Toronto 

Booking: 

mail@indexgbb.com 

416.535.6957

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