MONDAY ARTPOST 2024-0325

MONDAY 

ARTPOST 

2024-0325 

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 / 

Yvonne Pigott + OP Edition: Serge Clement, Ringo 

Tang, Ric Kallaher, Soman Lo, Chow Chee Yong. Holly 

Lee, Karl Chiu, Mak Fung, Wang Miao, Steven Nilsson / 

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

李家昇連載 Fragments for a Photograph [ Papier Mâché ] 

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 

Free Subscription: https://mondayartpost.substack.com / Support: https://patreon.com/doubledoublestudio

Several ways of not to miss 

a single issue of MONDAY 

ARTPOST. 

subscribe.mondayartpost.com 

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 

Odyssean Gold 

The upper book can be anything you want, 

but the gilded book beneath is The Odyssey: 

see Odysseus’s galley surging back to Ithaca? 

Iliad and Odyssey

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 

first season of 

1997. 

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.

Serge Clement 

Impression 1997, Shanghai, 1995 

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

Number 1/25 

Signed, titled and numbered on verso 

OP Edition 

Serge Clement

Ringo Tang 

Hong Kong #2, 1995 

8x10 inch, toned gelatin silver print 

Number 1/20 

Numbered and signed on front 

OP Edition 

Ringo Tang

Ric Kallaher 

Untitled (Statue of Liberty) 


Number 1/20 

Signed and numbered on verso 

OP Edition 

Ric Kallaher

Soman Lo 

Water Lily, circa 1950 

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

Chow Chee Yong 

Man from Down-under 


Number 1/20 


OP Edition 

Chow Chee Yong

Holly Lee 

Swimming Pool, 1986 

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

Number 1/20 


OP Edition 

Holly Lee

Karl Chiu 

Untitled (Victoria Harbour), 1995 


Number 1/20 

Signed, and numbered on verso 

OP Edition 

Karl Chiu

Mak Fung 

Fishing families, Tai-O, 1957 


Number 1/20 


OP Edition 

Mak Fung

Wang Miao 

Steppes of Inner Mongolia, 1991 

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

Number 1/20 


OP Edition 

Wang Miao

Steven Nilsson 

Untitled (beach), 1987 


Number 1/20 


OP Edition 

Steven Nilsson

If Sculpture Could Talk: 

a collaborative work 

between Bill Grigsby, 

Holly Lee and Lee Kasing 

in a series of nine 

sculptural work. 

TWO: The Heroes’ Quest 

Sculpture: Bill Grigsby 

Photography: Lee Ka-sing 

Prose: Holly Lee 

Evaporation 

Sculpture: Bill Grigsby, Photography: Lee Ka-sing

The Heroes’ Quest 

They both determine to go, their bodies propelled forward with purpose. 

The wire man has now gone all viral, his visceral sensory neurons respond 

to strong electrical signals, urging him to transcend into another realm. 

Vibrating and trembling, he finds a way to dissipate into thin air. 

He too is on a quest. One fine morning in 2012, he just trudged through 

a valley carpeted with early autumn leaves — yellow, red, and gold. In 

the distance, within a park stretching north to south between two parallel 

streets, people gather at a long table having breakfast. Birds sing, flowers 

send off their fragrance. Listen! The melody of a flute drifts by. Some claim it 

is Japanese, some agree Chinese, while some insist on Indian. Don Quixote 

ponders to himself, “It’s Indonesian”. He’s bound for the Pagaruyung Palace 

in West Sumatra, to see for himself the splendour of the captivating and 

horny structure — a palace that has great appeal and has visited his dreams 

twenty-two times. 

Scupture By Rene Zamic. Photo: Holly Lee

From the Here and Now 

Yvonne Pigott 

Once an Artist,… 

More and more, people develop serious memory issues as they age, and their 

decline can be rapid or very gradual. In the case of my partner of 50-plus 

years, changes have been gradual, becoming apparent more than 11 years 

ago. He had stopped taking photos. He got uncharacteristically quiet: not 

taking part in conversations, less active than before, generally less engaged 

in life around him. When he spoke up, what he said was surprising and 

preposterous: for example, Donald Trump had been his childhood friend in 

Tokyo! 

A true friend, also an artist, encouraged 

him to start drawing and painting and 

brought him some materials. Then he 

joined Workman Arts, an artists workshop 

program run by CAMH. He had become an 

outpatient at CAMH’s memory clinic, which 

made him eligible to join Workman Arts. 

That’s when he really started to reengage. 

The first class he took was still life painting, 

-- at that time he could still marshall his 

skills. Color, composition, and creativity: 

he applied these in the sessions, including 

portrait painting with a live model. Another 

aspect of the workshops was being around 

other artists and instructors: there was such 

a welcoming atmosphere. Nobody asked 

any questions, nobody judged. It was a 

really safe, supportive group. I’m not an 

artist, but I loved being with the people 

in the workshop because they were so 

accepting. He attended these workshops for 

3 years, exhibiting his work at the end of 

each session, as well as in the annual juried 

show Being Scene. When COVID hit, inperson 

groups were cancelled, and ZOOM 

classes became less workshop and more 

lecture. 

The painting and drawing continued at his 

drafting table that looks out onto our street. 

First it was a continuation of the acrylic 

painting on canvas and then on paper. 

He did a lot of landscapes, especially 

lakes, trees, and rocks. He also continued 

collecting small rocks everywhere he went. 

Paintings by Shozo Ushiroguchi

These he painted faces on: happy ones, angry ones, confused faces, wicked 

faces. Not a bad way to express your feelings. He did the same with other 

objects that interested him, like empty toilet rolls. Meanwhile, rocks and 

rolls accumulated, so we gathered the rock faces together on a platter, and 

fastened the roll faces on board until they became a crowd. He also painted 

rock images on paper. Often they were composed as part of a beach scape. 

The colours were usually darker, and he started drawing with pencil to give 

them more texture and contour. These large rock drawings then changed 

shape gradually into round forms, and these became faces. He continued 

to paint on multimedia paper bound in large coiled workbooks making it 

easier to review his creations. With options gradually diminishing over time, 

it’s a matter of being on the lookout for new ways to continue to engage and 

create.

Sketchbook 

Tomio Nitto

( 林海 ) Fragments for 

a photograph 

Lee Ka-sing 李家昇 

13.(Papier Mâché) 

[ 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 ) 


13.(Papier Mâché) 


林使勁的去想 ,Papier Mâché 如果用中文怎樣說。他在互聯網上 

搜尋 , 得來的答案是紙紥或紙糊。前者好像不大對勁 , 後者說了一點 

製作過程 , 但還是失卻了應有的神髓。其實 ,Papier Mâché 源流自中 

國 , 也許是漢朝吧。想來 , 林買過一面陝西的羅漢面具 , 屬舊本 , 也 

就是用紙糊方式製作。也買過一面日本的 , 臉部冷冷雪白。大概也同 

樣是在儀式上使用 , 面具背後的人 , 代入另一個身分 , 與神對話。林 

想到把自己少年時期所寫的文字化作成為紙糊的時候 , 他倒沒有想過 

這一點 , 與神對話的淵源。也許林的靈感來自他的日本朋友 N。N 喜 

歡做 Papier Mâché。有一回 , 他依據林海給他的照片 , 做了一枚林海 

的貓送給林海。貓橫約四吋 , 栩栩如生。貓如今安放在海的案頭 , 於 

是 , 海可以常常追思貓的健步少年。海有一組照片作品 , 是拍攝物 

件的前及後 , 兩張照片前後放在一枚通透的框架裡面。N 送給林海的 

貓 , 海把它納入 , 作為這組照片的一部分。你看見貓 , 移身到照片框

架的背後 , 你會看見貓的背。也是另一種立體主義吧。背後的故事 

也許是一個很好的課題。1988 年林海在羅馬 , 路上遇到一匹馬 , 林 

舉起相機 , 在馬的背後拍了一個正中照。那麼漂亮 , 林想 , 猶如一棕 

少女的秀髮。林當時也為一份週刊寫專欄 , 發表文字及照片。他發刊 

了那張馬的照片 , 文字的題目「關於看一匹馬的角度」。他說 ,「那 

天我和妻子路過 , 看見馬的尾巴在我們面前活像一個多釆的小說」, 

「而它的尾巴和當時街上其他的風景一樣剛巧停留下來成為照片的一 

部分 (1989)」。林想提出一個看事看物的角度。林想著 , 他早年 

所寫的文字 , 既然沒有閱讀的意義 , 既然留著只是為了不好忘卻的記 

憶 , 何不就將它們轉換成為一份實在的記憶物。於是林就想到 Papier 

Mâché。也許 , 它們都不適宜輪迴成為一頭動物 , 因而發展出不必要 

的歧義。也許就簡單化作一枚抽象簡約的立方體 , 如果體積細小可以 

作紙鎮 , 如果體積略大可以用作承托花卉盆栽。畢竟 , 林與海都是對 

紙有著濃厚感情的人 , 所以他們生活的空間還是滿滿的四週都是紙本 

書冊。由於林多年都是營運畫廊 , 因工作關係 , 經常接觸照片版本文 

本 , 也較深領略到研究員對版本相關物的興致。林想 , 如果有這樣的 

一天 , 研究員發現了眼前小說的 Papier Mâché 版本一定會喜出望外。 

現代科技那麼進步 , 數百年後的今天 , 我們不是也能夠找出林布蘭 

當年畫作背後的伏線嗎。所以林也滿信 , 如果是有需要 , 利用甚麼 X 

射線研究員大可以將他少年時期所寫的小說重組。也說不定視乎研究 

員的修養 , 可以把他的意識流段落作一個更完好的排序。我們的史前 

史也不就是這樣的組織起來。剛過去的星期天 , 林在紐約時報的週日 

雜誌看到 Hermès 一則廣告 : 一張具有手塗顏彩的 Papier Mâché 扶手坐 

椅。林開始懊悔當年那個小說寫得不那麼的長 , 不然今天大可以有足 

夠紙張造一具沙發 , 舒展更好的坐姿寫新的故事。 

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

Leaving Taichung 

Station 

Bob Black 

How We Imagine Ourselves 

The world comes to us something like this, a coin falling in a slot quivering 

Through mirrors and ink, language sets off over the field 

Flat-muscled as thick-honey colour runs its fingers through our hair with the bees 

Sea foam secrets in his eyes, silver raindrops a home in her ear 

Braids snare each other and the heart goes on 

The food we fingered, the cormorants in a bay of washed up fish, eyes and onyx keys 

Each picked up in the wind’s hooks, grass, we remember light & shell 

The land lanterned, and the flight around our mouth 

Our stitching unguts as the cows come home 

The insouciant coffins wrecked on the rocks, the inlet luminescence & blank verse 

Five doves, a sable lacquer box, gloves gripping 

Diamonds, as vowels drift entwined on the shore 

Begun at the roots of the feet in the grass, tall stands reconciliation 

The crackle of laugh outracing death’s pace, a box of space 

Tom toms upright with the wind through our lower limbs, the creak

Draped in the beginning of a fifth decade 

A contingency of webs, the gossamer trees over there considers plot in a story 

The history of luminous movement1. on a hectic rooftop in NYC, once 

Tumultuous light fell in love with a man as he became shadow 

Amid the squalor of biting voices, the view bent to the echo of love’s lethal tug 

We drop from the spinning world, dangling from curtains in cinematic gaze 

The sky carves the bones chafing, the trains we watch go by in your voice 

An eloquent bang in the notice of the night as death volumes a sigh 

Swallowed in a newborn layer of skin, the story of the cut remains and words add up 

Peppers and a phone cord drying along the skeleton of a grandmother’s farmhouse wall 

The crunch of the crisp step inside Autumn’s shoes, the steps taken on the way to a grave 

The phone on the wall still plugged in, as the line hangs with a voice frayed, 

A bird strung up in a market, the moments we stole from the world, my love 

Trousers long and grown old as trees stretch like sentry and telephone pole 

The song wrinkled toward the dimpled sea, we are passed-down socks 

Cling to ourselves as upside-down leaves batting in the front yard 

What shall survive as we go on spinning sentence after sentence 

The oak’s bones fallen at night, the potted plant brown from fright 

The collar upturned in a window reflection, the snow and bus sneer your name in the dawn 

A voyage both of us Jasoned to get a meal for a ghost, the jukebox unsung 

And the sum of us dripping wax as stories slump from the eye of the sun while loss runs. 

1 Scott Bradfield

Poem a Week 

Gary Michael Dault 

On one of Malgorzata’s Still Life Photographs 

still brimming 

once come 

to the table 

closed at the lips 

but braced 

for the sky 

the way the eye 

looks up 

singing* 

offering 

flower dust 

lost by the hour 

March 21, 2024 

Malgorzata Wolak Dault, Still Life with 

Dried Hydrangea Blossoms (in her own 

earthenware vase, on a tablecloth by her 

favourite designer, Sweden’s Gudrun Sjoden). 

March 21, 2024. 

*“looks up singing” is from Louis Zukofsy, “Shang Cup” in 

Anew: Complete Shorter Poetry (New York: New Directions, 2011), 

p. 156.

Greenwood 

Kai Chan 

Drawing 

35 x 35 cm, acrylic paint on rice paper

Black Flowers: Drawings 

by Malgorzata Wolak Dault

Travelling Palm 

Snapshots 

Tamara Chatterjee 

Canada (February, 2021) – It had been a 

long stretch of isolation, leading to wild 

ideas. It was far beyond subzero; the lake 

frozen – glacial in appearance with stretches 

of unappealing ridged ice. The girls and I 

met up for a dog walk along the beachfront. I 

remember a joyful day, full of laughter, cackles 

and grins resulting in a few frozen fingers. It 

wasn’t until I started to defrost that I could 

appreciate the scenery in its glory.

ProTesT 

Cem Turgay

Gary Michael Dault 

From the Photographs, 

2010-2024 

Number 23: Five Glaring Nudes 

NOTE: The models shown here are taken from a curiously unappetizing book called 

Illustrator’s Reference Manual: Nudes, published in 1987 by Chartwell Books, Inc. and 

produced in Hong Kong. With 2000 images of eerily artificial male and female nudes, 

photographed both alone and in listless juxtaposition (“24 different angles”!), the book was 

apparently offered as a warily lubricious guide to the limning of the undraped human form for 

those whose anatomical memories and imaginations had failed them. 

I subjected the five sunbaked nudes shown here both to an angling of the pages and to the 

interference of shafts of outside light. I felt these doughy nudes needed some spark. 

GMD

CHEEZ 

Fiona Smyth

The Photograph 

Selected by 

Kamelia Pezeshki 

First Haft-Sin far away from homeland by Ava Mokhtari

Caffeine Reveries 

Shelley Savor 

They Brought The Weather With Them

THE 50 GLADSTONE 

(Works, Objects, Artifacts, 

1976 to current), a Lee 

Ka-sing and Holly Lee 

exhibition, 2024. 

April 27 to July 28, 2024 

Toronto

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 2024-0325

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?