MONDAY ARTPOST 2024-0318

MONDAY 

ARTPOST 

2024-0318 

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: Alfred Ko, K. F. Yau, Shimao Shinzo, 

Soman Lo, Lee Ka-sing, Norman Jackson Ford, Chung 

Man Lork, Victor Chiu, So Hing Keung, Ringo Tang/ 

DD ARCHIVE 0222-2019 / 

李家昇連載 Fragments for a Photograph [ 初戀 ] 

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, eight. (Photographs by Lee Ka-sing, haiku by Gary Michael Dault 

in response). Read this daily collaborative column at oceanpounds.com 

Bed Bearing the Sands of Time 

It makes me want to re-watch Hidalgo 

and think about Rimbaud 

crossing the Somali Desert to Harar 

Bed

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 

fourth 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.

Alfred Ko 

Victoria, 1987 

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

Number 1/20 

Signed and numbered on verso 

OP Edition 

Alfred Ko

K. F. Yau 

Ng and Lee, 1939 

8x10 inch, gelatin silver print 

K. F. Yau is the father of Yau Leung. This is a modern print, printed in 1996 by Yau Leung 

Number 1/20 

Co-signed by Yau Leung and Lee Ka-sing 

Numbered and stamped on verso 

OP Edition 

K. F. Yau

Shimao Shinzo 

Jordan Road, Kowloon, Hong Kong 


Number 1/20 

Signed, titled and numbered on verso 

OP Edition 

Shimao Shinzo

Soman Lo 

Shatin, circa 1960 

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

Lee Ka-sing 

Hello, Hong Kong, 1988 

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

Number 1/20 


OP Edition 

Lee Ka-sing

Norman Jackson Ford 

Temple interior, 1996 


Number 1/20 

Signed, and numbered on verso 

OP Edition 

Norman Jackson Ford

Chung Man Lork 

Chun Yeung Market, North Point, 1963 


Number 1/20 

Signed, and numbered on verso 

OP Edition 

Chung Man Lork

Victor Chiu 

The Park built on the site of the Kowloon Walled City, 1996 

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

Number 1/20 


OP Edition 

Victor Chiu

So Hing Keung 

Untitled 1995 


This is a work print, no editions were made 

OP Edition 

So Hing Keung

Ringo Tang 

Hong Kong #4, 1995 

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

Number 1/20 

Signed, titled and numbered on front 

OP Edition 

Ringo Tang

Sketchbook 

Tomio Nitto

SCHERZO 

Holly Lee 

(four) Joanna Concejo 

She has an attentive heart for details, sketching soft, subtle lines on paper 

where characters are brought alive and breathe. There’s immense patience 

and no sign of hurriedness in her work. She’s careful to preserve her soul, 

else it will be lost, like Olga Tokarczuk’s story she’s illustrating. Slow life 

down, be observant, be present. Feel, improvise in everyday life. My friend, 

who has developed dementia, remains forever present. I saw him filling the 

white spaces of a coloring book with great enthusiasm and concentration. 

He loves the color red and has an intense desire to be precise. Look, 

a monkey in different red shades emerges! In his silence and absorption, 

he explores the visual images and their spatial relationships. He focuses 

on his new life with unspeakable joy. I enjoy hugging him and hearing his 

laughter. His old soul may have gone astray, but he’s found a new, brilliant 

one.

( 林海 ) Fragments for 

a photograph 

Lee Ka-sing 李家昇 

12.( 初戀 ) 

[ 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 ) 


12.( 初戀 ) 


1969 年 , 林寫了他的第一個小說。他戲稱那是他寫小說的初戀。之 

後 , 林便轉身寫詩去了。這樣便過了五十多年 , 今天方才回來重拾他 

的第二章。當時林正在唸中學 , 校舍新落成不久 , 有一個偌大空間的 

圖書館。林喜極 , 每天流離不捨圖書館空間。館的存書也不錯 , 印象 

中有不少文星叢刊袖真本。這幾年 , 林特別喜歡閱讀程抱一 , 林想 , 

這個名字怎麼這樣的熟悉 , 後來終於記起 , 就是在那段時期他讀了程 

的「和亞丁談里爾克」。相信當時程還未有正式入法藉。在相若時間 

程發表了他重要著作「中國詩語言研究」, 也即是林今天最愛不惜手 

的一本書。林覺得程翻譯古典詩的方式比較能夠保留原有的神貌而不 

流於序述。唉 , 詩又怎可以原全地翻譯呢。在學校的圖書館 , 林也讀 

了一些余光中。他讀了劉以鬯的「酒徒」, 而且 , 他還記得那是海濱 

圖書公司發行的初版。林覺得這種寫法很新鮮。他沒有讀過喬哀斯 , 

當然也不能梳理出脈絡。當時坊間也不見得有喬的中譯本。不過劉的

「酒徒」卻大大影響了林興致勃勃的寫下了他的第一個小說 , 以意 

識流的方式。今天 , 林怎麼也記不起他所寫小說的名字 , 更不用說小 

說的內容。林只是記得 , 小說的手稿用一個文件袋封裝著 , 如今仍放 

在地庫。他也記得手稿每頁均用橡皮膠印蓋上一個大號的頁碼 , 也許 

恐怕意識流文字 , 猶如記憶一樣 , 一個不留神 , 序次便對掉調開來 , 

甚至找不著原游的歸屬。不過 , 今天林倒有一點可以肯定 , 這個小說 

的文本再沒有甚麼閱讀的意義。也許 , 林覺得那些文字沒有真的通過 

他的心扉閘門。隨著年紀的增長 , 林慢慢地堆起出一些判斷事物的準 

則 , 尤其是今天眼花繚亂的的當代藝術世界 , 長相與形式已不好作為 

判斷的依歸。當然 , 這些也不好作為林的第一篇小說的比喻。一點是 

相同的 , 倒是看那個是否流過你心中的航道。林努力在河道尋覓 , 希 

望可以在河床上打撈出一點邂逅軌跡。其實 , 林在少年期所寫的文字 

保存得不錯 , 雖然經過多次搬家 , 存放不可以說是整整有條 , 但大致 

上仍然是有跡可尋。倒是後來比較成熟了 , 原稿或是發表本卻是零星 

四散 , 甚至到了無手稿的數碼化年代 , 文本隨意生長在他不同年代電 

腦的四週 , 也有些因為突發性的硬體災難而掉失了。林也當然明白 , 

這是對事態度的問題。態度也往往與成長保持著一個正比的關係。你 

慢慢成長 , 對一些東西的著重點也許會產生變化 , 也許滿不在乎。當 

你每一呼吸都是一個創作的時候 , 你無從 , 也來不及逐個細細的保存 

下來。林想 , 這也不是一個好的態度。所以多年來林都是保持著對海 

的熾熱。這些日子 , 隨著一些手頭工作可以逐步放下 , 林海便開始從 

不同的方向 , 慢慢梳理漸漸遠去的過去。林開始揣摩出一個 , 為他的 

少年時代所寫的文字一個獨特的保存方式 :Papier Mâché。 

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

Poem a Week 

Gary Michael Dault 

Our Salad Histories (Sonnet #24 of 50) 

our salad histories lay hidden 

way below the infinite creaking up 

of table space; you need tact 

to negotiate the nearness of spheres 

the round things of salad, tomatoes, 

radishes; lettuce leaves like silk skirts 

on a clothesline; pull up a chair, 

be undeniable of knife or tyne. 

a salad is all imposition 

nothing aeronautical here, all cucumber 

rafts, stepping-stone salad curled in its 

gleaming; the summer is going to be 

crackling like the sugar edges of spoons; 

there’s lighthouse life after this green glare

Greenwood 

Kai Chan 

Drawing 

35 x 35 cm, acrylic paint on paper

Black Flowers: Drawings 

by Malgorzata Wolak Dault

CHEEZ 

Fiona Smyth

The Photograph 

Selected by 

Kamelia Pezeshki 

From the series A mere poetry of existence, 

Jasiek watching sunset, 1997 by Jarek Michalski

Travelling Palm 

Snapshots 

Tamara Chatterjee 

Uzbekistan (November, 2019) – As we walked 

past the first of several doorways it was evident 

that restoration was underway. Wandering 

through the side entrance of the 16th century 

complex, we discovered the secluded 

women’s section. Divided from the rest of 

the space with hand carved wooden screens, 

reminiscent to those found in India and back 

at the homestead. It was a nod to the familiar 

with the added light cast through the etched 

window panels.

ProTesT 

Cem Turgay

Gary Michael Dault 

From the Photographs, 

2010-2024 

Number 22: Giacometti (Masking Tape)

Caffeine Reveries 

Shelley Savor 

Late March

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. 

0222-2019 

(edition February 22, 2019) 

TIME MACHINE, photographs (Lee Ka-sing) 

/ Sushi Grass in Paradise, a novel (Holly 

Lee) / VINTAGE - HONG KONG MEMORIES, 

photographs (Holly Lee) / BOOKSCAPE - HONG 

KONG, TWO VISITS, photographs (Lee Ka-sing)

CURRENT WORK 1 

16 New Photographs by Lee Ka-sing 

Update 

TIME MACHINE was published by OCEAN POUNDS in 2022 

180 pages, 8x10 inches 

https://books.oceanpounds.com/2021/12/tm.html 

20180320-0971 (eye), 2018

20180320-1312 (energy), 2018

20190218-02017 (feather), 2019

20180320-1634 (struggle), 2018

20180320-1859 (jellyfish), 2018

20180320-1604 (silk-cotton flower), 2018

20190218-02072 (vertical wave), 2019

20180320-2095 (future), 2018

20180320-1368 (flying swords), 2018

20180206-9494 (desire), 2018

20180327-2527 (city planner), 2018

20190218-02076 (bellow), 2019

20180320-1868 (sunrise), 2018

CURRENT WORK 2 

Sushi Grass in Paradise (A story) 

written by Holly Lee 

with photograph by Lee Ka-sing 

(4) The Library Holds More (Than Books) 

The third-floor library has one long and narrow window. On a 

sunny day like today, Mrs. Bento is delighted to see a bank of 

white light pouring in, brightening up the otherwise dimly lit 

room. The slightly rectangular room is maximized for storage 

space; shelves were custom-made from floor to ceiling, covering 

most of the walls, and they are not just filled with books. A 

few framed photographs and watercolor drawings are hung 

intuitively in front of the shelves, jumping from one point to 

another, intervening in the book space. 

Mrs. Bento notices some stacks were designed with height in 

mind for storing music CDs and movie DVDs. Occasionally, 

she’ll bump into one of her favorite movies — for example, ‘In 

the Mood For Love’ — which leads her to think she might find 

even more movies she likes in that section. 

In between the books are breathing spaces, where tiny, casual 

art pieces and small objects can be found. Here, against a 

colored pencil sketch of a cumulus cloud sky, stands a four-inch 

stuffed penguin. The bird’s belly is basically white, scattered

with tiny orange dots, while a bright orange fabric covers the 

bird like a cloak, from head to toe. It is printed with camera 

patterns in white outlines. The eyes are two small black beads 

staring at you in silent curiosity. Mrs. Bento couldn’t help but 

hold it up with her left hand, gently squeezing its pointed nose 

with her right thumb and index finger. 

Fun. 

And the adventure carries on. There are one, two, three, four 

5-inch candles in Madonna’s image, two red and two black. 

For some reason, the red ones have parts of their heads burnt. 

There is a black marble pyramid paperweight; the white, orange 

stripes, and patterns really dispatch some cosmic energy, 

imagines Mrs. Bento. Here, in front of an abstract miniature 

painting, stands a bronze sculpture of two figures entwined in 

an inseparable standing and sitting position. In another cavity 

she locates, a beaver skull, a fish fossil, and a tooth of some 

sort. She turns around, and her eyes meet a pair of small clay 

bird and dog; the red and black colors are tarnished, and the 

surface blemishes seem to suggest that they might have been 

objects of great antiquity. Nearby, a black and white papermache 

cat looks so animated that it seems to be walking and 

meowing at the same time. 

Master Paintings, Design, Europe/Xinjiang/NY Written PC, 

China and Old Postcards, Berlin/Ams., Japan/Korea, Poland/ 

Prague/Budapest, French/Italian, New York, Postcards Written, 

MISC. 

Who will need postcards these days?” murmurs Mrs. Bento. 

“Postcards belong only to the nostalgic and romantic!” Just as 

she wrestles with the thought of opening the postcard album 

labeled “Postcards Written,” the doorbell rings. 

“It must be the Amazon guy,” she returns the album to its place, 

closes the door, and hurries downstairs, hoping the delivery 

person is still there after she has descended all three floors! 

Hmm…more to discover. 

A couple of shelves extending to the corner near the door have 

two stacks of vertical plastic postcard holders, each holding 

up to 90 pockets — 180 postcards, front and back. They are 

all stuffed with postcards, most of them labeled on the spines:

VINTAGE 

HONG KONG MEMORIES 

a suite of 13 works by Holly Lee 

A project granted by FUJIFILMS 

Instant Film Transfer on paper, work year 1994-1997 

Sheet size 9.5x12 inches, image size 7.5x3.25 inches 

Update 

HONG KONG MEMORIES was published by OCEAN POUNDS in 2023 

112 pages, 8x10 inches 

https://books.oceanpounds.com/2023/06/hkm.html

The Harbour

The Railway Station

The Bank

The Capital and The Plane

The Garden

The Group photos

The Destiny

The Public Transit

The Basic Law on Hygiene

The Bauhinia

The Traveller

The Swimmer

For those who grew up in Hong Kong and are thirty and above, Holly’s photos will 

certainly bring forth a lot of memories and strike a resounding chord. 

Holly Lee’s Hong Kong 

Lee Sui Yee, Carmen 

(translated by Sainfield Wong) 

Looking at her works is like reading a prose that portrays growing up in Hong 

Kong. There are many images that are from the 60s and 70s. Places like old Tsim 

Sha Tsui Train Station, the Botanical Garden and former Hong Kong & Shanghai 

Bank building were places that we went to when we were young. I remember 

reading an article on the same topic, the feeling of reading it and looking at 

Holly’s work is very similar. This feeling is different from looking at historical 

photographs. Holly’s work has a nostalgic look to them at the first glance. It is 

because she has taken her materials from old photos and old postcards. The 

feeling of looking at them, however, is not like merely looking at some historical 

photographs which only remind one of specific time and space. Historical 

photographs are about recollection of the past, whereas her photographs evoke 

thoughts that are leaping and complex, shifting from past to present - like a 

contemporary person who grew up in Hong kong speaking his past and future - a 

flash back of fragment of emotional and conflicting thoughts. The feeling is close 

to reading a prose. 

Holly’s photographs elicit a complicated mood that cannot be brought about by 

looking at an ordinary photograph. A simple photo can only capture a specific 

moment at a fixed angle and perspective. With an intent to document. The notion 

is simply to record objects in front of the camera. Holly’s “Hong Kong Memories” 

has surpassed the limit of the fundamental function of straight documentation. 

First, she juxtaposes two different images. Each individual photo contains a 

certain moment and symbol. They might be photos with a simple and straight 

forward content, for example: one might be a picture of a descending airplane; the 

other might be and runway. When juxtaposed together, they symbolize something 

beyond the original meanings. The work is now not a scene that was taken twenty 

years ago, but is also a fragment of thought on Hong kong’s past and future. The 

runway represents velocity, direction and competition. It is not difficult for people

to think only about the rapid growth of Hong kong in the past and its current 

competition with China. One cannot see the end of the runway, and the lines on 

the runway are dotted. How is one going to run on this road? The kind of complex 

thinking of Hong Kong toward its past, present and the future, the emotions of love 

and hate and moments of uncertainty, can only be brought about by the one who 

was born and raised up there. 

Holly also employs the method of image transfer, by layering pictures, writings, 

patterns and mixed media of expression. Works produced with this process usually 

have a unique and tactile character. They also have the quality of being separated 

from their original, specified time and space, differentiating from the realism of 

pure photography. 

Setting one photo on top of another. When the images overlap, it is often hard to 

see them clearly. This is different from ordinary photography which aims to a clear 

image. Especially when the size of the image is small, the viewer has to come close 

to the photo in order to see it more clearly. One is forced to come close to the work 

and becomes involved with the intent and emotion of work. 

Take the work “Victoria Harbor” for example. If the picture was intended to be 

taken as a clear view of a beautiful night scene, the viewer will probably take 

a very brief look at it. He will mostly appreciate the lovely scenery and the 

photographic technique. But Holly has overlaid the picture of the harbour with 

writing from a postcard. If the viewer wants to read the writing, he has to look 

at it closely. At a close distance, the actual space between the work and the 

viewer is pushed out. The viewer will automatically be led into the personal and 

emotional space of the work. He will begin to share the feeling of the writer of the 

postcard, as expressed in the poetic phrase “the setting sun is splendid, yet it is 

getting close to dusk”. Photography can easily elicit a feeling of peeping. But this 

work can turn a mood of personal nature into a common and shared emotion. The 

flying Union Jack is poked onto the past of everyone who grew up in the colony. 

An address in English is a mark that everyone who has gone through this part of 

history bears. The unavoidable ‘1997’ and the sun setting harbor produce a strong 

contrast. 

Layering and multimedia is suitable for handling complicated themes. In each 

work, the image and the writing are interrelated and complementary to each 

other, expressing a multitude and diversity of thoughts and emotions that cannot 

be easily explained. In the work on “Basic law”, the beautifully controlled hand 

and the illustration which used to teach children basic knowledge of cleanliness, 

create an interesting dialogue. The Bauhinia that lies underneath the illustration 

seems to be a hidden power that overwhelms a simple life. 

Intertwined and complicated though are even more obvious in the work of Hong 

Kong & Shanghai Bank. The bank is a symbol of Hong Kong’s financial status. The 

layers of old wrapping paper printed with a child wearing an overalls symbolizes 

the past achievements of Hong Kong’s industries. Behind the Bank building are 

two people saluting. Interestingly enough, the illustration was done during a period 

when the Japanese occupied Hong Kong. The same gesture of salutation recarnates 

itself here, this time foreshadowing the future of Hong Kong under a different rule. 

Under the layering, this serious issue becomes intriguing, but has not loose the 

ability to call for deep thinking. 

Holly’s works tell of the many feelings of the Hong Kong people. One could not 

stop but think about the past and future of Hong Kong.

BOOKSCAPE 

HONG KONG, TWO VISITS (2016, 2017) 

an artist book by Lee Ka-sing 

(Produced in January 2018)

H+K COLLECTION 

Update 

This photograph has been 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 

Tung Lo Wan, Tang Lung Street 

Gelatin silver photograph, 11x14 inches 

Work year 1964, printed in the nineties 

Signed on verso by the artist

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

MONDAY ARTPOST 2024-0318

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