MONDAY ARTPOST 2024-0415

MONDAY 

ARTPOST 

2024-0415 

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 + K&G Greenwood: Kew Gardens 

(Holly Lee) /OP Edition: Hisun Wong, Jennifer Cheung, 

Peter Yung, Leung Ping-kwan, Osamu Muranaka, Norman 

Ford, Yvonne Lo, Evangelo Costadimas, Chan Wai Man / 

李家昇連載 Fragments for a Photograph [ 風景 ] 

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.

K&G Greenwood 

Holly Lee 

K&G Greenwood is a project of intricate complexities. It revolves around 

the realms of experience, cherished memories, enduring friendships, and a 

profound love for gardens, artists, writers, and books. 

I began my journey by calling a stag a horse. Using pictures I took from 

K&G’s garden, I paired each one with my writings written for different 

gardens that have inspired and intrigued me. 

The project takes the form of postcards, which I mail to K and G at intervals. 

On each postcard, I include a few sentences from the longer text. I extend an 

invitation to K or G to respond by taking a photograph each time they receive 

my postcard. 

Kew Gardens 

Virginia Woolf once wrote a short story set in Kew Gardens on a hot Summer 

day. 

(opposite page) View Toward The Temple of Bellona, Kew, 2004. Photography: Katy McCormick 

The short story “Kew Gardens” was first published by the Woolfs 

at Hogarth Press in 1919, featuring woodcuts by Vanessa Bell, Virginia’s 

sister. The print run was 150 copies, with unimpressive printing and only

two illustrations. I was fortunate to read a facsimile reprint of the muchimproved 

edition printed several years later by Hogarth Press in 1927, for 

which Bell designed the head-and-tail pieces with new decoration for each 

page. It was a pleasant sight, and I couldn’t let go of the book. It is now in 

the collection of Toronto’s reference library. 

Kew Gardens served as Woolf’s inspiration, and references to it seeped 

into many of her novels. In fact, during her ten years living in Richmond, a 

suburb just 15 minutes from central London by train, she visited the place 

frequently and could actually see Kew Gardens from the rear windows of 

Hogarth House. Consider yourself enviable if you live in London today, as 

Kew Gardens continues to be a paradisal retreat, with fields, lawns, flower 

paths, forests abundant with old trees, and, more importantly, its several 

spectacular Victorian glasshouses, a seed bank and botanical laboratory at 

Wakehurst, as well as a renowned herbarium, which claims to be the world’s 

largest, second only to the New York Botanical Garden Herbarium in the 

Bronx. 

The story of Kew Gardens goes back to 1759, when Princess 

Augusta, mother of King George III, founded a nine-acre botanic garden 

within the pleasure grounds at Kew. Kew Palace, a small British royal 

palace within the grounds of Kew Gardens on the banks of the River 

Thames, was a place where the King and his family could live normal lives 

without the interruption of ceremonies and courtly affairs. While King 

George III’s agricultural interests earned him the nickname ‘Farmer George’, 

Queen Charlotte took great interest in Kew Gardens. Her enthusiasm as an 

amateur botanist motivated her to collect plants and establish her personal 

herbarium. When Kew collector Francis Masson discovered the Bird of 

Paradise flower in South Africa, it was sent to England and named for 

Charlotte’s birthplace, Strelitz. The botanical name for the Bird of Paradise 

is Strelitzia reginae. 

(opposite page) A page of the facsimile reprint of Woolf’s Kew Gardens 

by Hogarth Press in 1927

In the 18th century, European colonial expansions fueled a surge 

in plant hunting, driven by the quest for knowledge, power, and access to 

resources and trade routes. This era witnessed a proliferation of funded 

expeditions, attracting explorers, scientists, and botanists to explore 

uncharted territories in search of rare and exotic flora. “Plant hunting” 

emerged as a prestigious and widely esteemed pursuit. 

Among the prominent figures of this time was Joseph Banks, who 

orchestrated numerous successful voyages of botanical discovery. In 1773, 

he assumed an informal directorial role at Kew Gardens under George III. 

Banks dispatched the first Kew collectors procuring numerous specimens 

from across the expanding British Empire. Under his guidance, Kew 

Gardens rose to prominence as a leading institution in the golden age of 

plant hunting. 

Other notable explorers, such as Ernest Wilson, ventured into China and 

introduced approximately 2000 Asian plant species to the West. David 

Douglas, renowned for discovering the Douglas fir, undertook a significant 

expedition across various regions of British Columbia. Joseph Hooker, the 

second director of Kew Gardens, embarked on a three-year Himalayan 

expedition, yielded a vast collection of botanical specimens, including over 

7,000 rhododendron species, many of which still adorn gardens today. These 

daring exploits of plant hunters not only expanded botanical knowledge but 

also enriched gardens worldwide with a wealth of exotic flora. 

During its peak of power and global influence in the 19th Century, 

Britain had expanded its colonial reach into Asia, encompassing territories 

such as India, the Middle East, East Asia, Hong Kong, and Singapore. Growing 

up in Hong Kong, a century after its colonization, The Botanic Garden of Hong 

Kong (opened to the public in 1871, some 30 years after Kew Gardens) was 

a crucial part of my childhood memories. Unaware (and unconcerned) of its 

historical context at the time, I lived under British rule even with a bit of pride. 

Kew Gardens map 

Locally known as Bing Tau Fa Yuen ( 兵頭花園 ), translating to the Head of 

Soldiers’ Gardens, it was situated on the former site of the Government House 

for the Governor, who held the title of Commander-in-chief of Hong Kong

and was commonly referred to as “Bing Tau”. This public garden was later 

renamed as the Hong Kong Zoological and Botanical Gardens in 1975. 

I’d been to London twice but I’ve never checked out Kew Gardens. 

If I ever get the chance to make the trip, it’s going to be more than just a 

quick visit – it has to be at least a two-day extravaganza, given the Gardens’ 

enormous size and the many spectacular features, diverse habitats, and 

important architecture to explore. 

Holly Lee: K&G Greenwood original postcard - Kew Gardens 144mm x 100mm, 2024 

Photograph by Glenn Beech at home, 

Greenwood (2024)

And how to explore Kew gardens that hold the largest and most diverse 

botanical and mycological collections in the world? To make it simple, my 

imaginary first-day schedule starts at the Victoria Gate, hopping on the Kew 

Explorer land train to all six stops around the gardens. The first stop is the 

Palm House, where one steps into a rainforest, with lush tropical greenery 

enveloping you from every angle. And right nearby, there’s the Waterlily 

House and Princess of Wales Conservatory, each promising their own slice 

of botanical paradise. Next up is the spectacular Temperate House – known 

to be the largest Victorian glasshouse in the world. There, be amazed by 

the splendour of the world’s temperate flora; the riot of colours and scents 

is simply enthralling. Next, the Great Pagoda is in view. The structure was 

designed by Sir William Chambers as a gift for Princess Augusta in 1762 

– it’s like a piece of history standing tall amidst all that greenery. after that, 

take a stroll to the Japanese Gateway for Lion Gate, enjoying a relaxing and 

peaceful interlude. 

Then it’s time to stretch those legs with a walk along the circular Log Trail 

and through the Pinetum. For nature lovers and children – its 5.1 kilometers 

are pure fun for exploration. And who could forget Lake Crossing? Walk 

along the bridge and curve your way across the lake, enjoying the trees, 

birds, and all that aquatic life in the water. Brentford Gate is the last stop, 

where a huge Children’s Garden awaits, promising fun and adventure for the 

old and young alike. Now, with the Orangery just a stone’s throw away, it’s 

the perfect time to take a coffee break! 

Pagoda View, Kew, 2004. Photography: Katy McCormick 

After the first day’s visit to all the must-see places, what would my secondday 

schedule be? Based on my previous day’s experience, I’d take advantage 

of using the Explorer land train, hopping on and off to places I want to 

further explore. My biggest wish is to loop around Kew Gardens, to stroll 

through its forests, beautiful gardens, scenic walks, and avenues. But the 

Gardens cover a 326-acre site, and it’s recommended to spend at least 

three to four hours to make the most of it. Though there are various trails 

conducted by instructors, I prefer to wander alone. I would like to see 

the Herbarium and library, spend time in the Marianne North Gallery to 

appreciate the artist’s miraculous botanical paintings. To venture further, I

plan to stop by Queen Charlotte’s Cottage through the Larch Walk, revisit Lake Crossing, and embark 

on more walking paths. I’ll head for a walk on Ginkgo Lane and take Banks Avenue to Kew Palace. 

That’s a lot to do, even for a whole day. I begin to wonder if this plan sounds too ambitious and 

impractical. 

To truly appreciate and relish what Kew Gardens has to offer, one should be like my friend 

Katy McCormick. Between 2004 and 2007, traveling from Toronto to London, she spent many hours 

in Kew Gardens taking photographs for her project. This resulted in an exhibition called “Kew 

Settee” at G+ GALLERIES (Toronto) in 2008. The theme she focused on narrowed down to selected 

locations, often deviating from the general visitor’s route. In these quiet pictures, I find tranquility, 

the mingling of what’s visible and what’s not, and more so, a feeling of timelessness. 

Even though a trip to Kew Gardens might not be on my agenda anytime soon, I’m grateful to 

possess three lovely postcards from Kew. They were thoughtful gifts from Kai & Glenn. One features 

a beautiful illustration of a sacred lotus flower, while the other two showcase aquatic plants and algae. 

I’ve tucked these treasures into a special postcard album, and I love pulling them out to share with 

friends who share similar interests. Each time I look at them, I can’t help but feel even more eager 

to experience Marianne North’s breathtaking botanical oil paintings firsthand. Just the thought of 

spending a hot summer afternoon at Kew, beholding the fluttering butterflies and slow movements of 

snails, while also absorbing the sight of people strolling by and perhaps catching snippets of their 

conversations, akin to Woolf’s observations, would undoubtedly give me a feeling of awe, a sense of 

déjà vu, and, a definitely exhilarating experience. 

(top) G+GALLERIES invitation card, Kew Settee by Katy McCormick, 2008 

(right) Kew Settee installation view

Sketchbook 

Tomio Nitto

Open/Endedness 

bq 不清 

評論者的筆記 

萬里無雲 , 天色清朗 

公園裡的植物自由地生長 

不被干涉 

草地不被踐踏 , 大樹不被砍伐 

昆蟲在綠葉底下啾唧啾唧 

一切美好如往 

而樹洞與年輪交疊 

秘密像所有聲韻學一樣 

在那個地方 

轉圈 , 消失。我們 

無言如披上旁觀者的特質 

陽光過猛所引發的是另一種盲目 

湖波粼粼 , 魚在水底 

練習韻律泳式 

石沉大海了 , 深海 

世界的壓力究竟有多重呢 ? 

我們努力練習瑜伽 

試圖以另一種姿態計算 

並解決這個物理難題 —— 

每一節的堅持帶來持久的柔韌 

是水邊植物 

晃動有水流與風風

A NOTE FROM THE REVIEWER 

Cloudlessness for miles, 

Plants in the park thrive 

Without interference. 

Lawns aren’t trampled. Trees aren’t cut down. 

Under the green leaves, bugs chirp. 

Everything is as beautiful as ever. 

A tree hollow intercepts its rings. 

Its secrets are like all phonologies. 

There, 

They spin in circles, vanish. We 

Keep our silence, donning bystander trait. 

The brightness of the sun leads to a blindness variety. 

The lake shimmers. Fish in it, 

Practise synchronization. 

Rocks sink. How heavy 

Is the pressure in the world of deep sea? 

We try hard at yoga, 

Tackling this problem of physics 

In a different body gesture— 

The persistence through each verse brings lasting pliability. 

The hydrophytes. 

Swaying in the midst of a current, and the wind.

Poem a Week 

Gary Michael Dault 

there was order 

and instinct 

and part-serving-whole 

and I felt that 

I ought to explain 

to the puss 

that the centipede 

didn’t deserve 

our abuse 

THE CENTIPEDE 

my cat 

found a centipede 

high on the wall 

she bristled and hissed 

with the thrill 

of it all 

I thought 

I might join her 

in hating the creature 

but soon got 

caught up 

with its signature feature 

there were all those 

black legs 

that it seemed to control 

“Why that walking alone 

is a fine kind of art; 

the bug is a dancer 

and was from the start!” 

“I think you should 

give it a round of applause, 

rather than scooping it up 

in your claws!” 

It was then that my cat 

began quietly blinking 

which meant she agreed 

to this odd sort of thinking 

and we then let the centipede 

go in its way, 

--a one-hundred-legged 

corps de ballet!

This fictional work was created for 

“Another Day in Hong Kong” ( 香港再偶拾 ), 

an exhibition held at 

Asia Art Archive, Hong Kong ( 亞洲藝術文獻庫 ) 

from March 18 to August 31, 2024. 

The work is presented in the form of a book, 

measuring 8x10 inches, comprising 

92 pages, with a hardcover 

that includes 21 pages featuring pictures 

along with text written in Chinese. 

The first edition, designated as the 

Exhibition Edition, is limited to 

a print run of 50 copies. 

A Fictional Work by Lee Ka-sing 

Order this book at Blurb (c$60 +shipping) 

https://www.blurb.ca/b/11932183-1996-10-19

林海 ( 李家昇作品 ) 

林海 

This book comprises the initial 16 fragments 

of “ 林海 ” (L.H.), an ongoing narrative. It was 

published on the occasion of the exhibition 

“THE 50 GLADSTONE” in Toronto, held from 

April 27 to July 28, 2024. This special edition 

is limited to twenty copies only. “ 林海 ” (L.H.) 

is a fictional work written in Chinese and 

was initially serialized weekly in MONDAY 

ARTPOST starting January 15, 2024. 

A Fictional Work by Lee Ka-sing 

(Hard cover, 88 pages, c$40) 

Hold this book at OCEAN POUNDS today 

picking up your copy at the exhibition 

THE 50 GLADSTONE

( 林海 ) Fragments for 

a photograph 

Lee Ka-sing 李家昇 

16. ( 風景 ) 

[ 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) 


14.( 纏綿 ) 


15.( 進場離場 ) 


終於 , 白開始領略出一點灰的風景。由於好奇心的驅使 , 近日 , 

白比較集中觀察灰屋子的變化。春天已經到來 , 街上大好陽光 , 

林每天清早就把兩扇窗的垂簾全開 , 好讓陽光的能量多一點透 

進屋內。白察覺灰的牆 , 漸進地每天都加上一點東西 , 有如植 

物在春天生長。但是 , 它們又總是來得那麼的沒有規律 , 東冒 

出一點 , 西冒出一點 , 有時一大叢 , 有時又聚集一小撮。白想 , 

這個景象如果濃縮起來 , 會很像他認識的縮時攝影 , 數天的光景 

在短短的幾分鐘內 , 如雨後的春筍 , 所有都在牆上一個瞬間生長 

開來。林正在忙碌在屋內裝置一個以他們四十多年的創作片段 

作為基礎的展覽。林先把一對 17 乘 22 吋的照片放在西牆的盡左 

邊 , 也即是白迎面看到最早出現的照片。照片是海的。她的母親 

和她的姨姨。海有幾組作品都有著她家人的影子 , 怪不得最近有 

個訪問 , 問及她是否很有興趣以家族作為題材。準確地說 , 不是 

家族 , 應該說是她身邊的人 , 她也拍過不少她的朋友 , 甚至她早

年的助手 F。接著林又在北牆盡處放了三張較大的照片 , 包括海和她的貓合作的 ; 林和 Y 合 

作的 ; 與及林的來自一組他稱為小說的構成照片。在西牆另一端 , 林放了海的一張照片題 

目好像叫世界地圖 , 其實是她拍攝工作室地板的局部。這張照片也較大 , 橫跨有近 40 吋 , 

有裝裱 , 框子是林替她造的。林來了多倫多多年 , 不知不覺間 , 就是這樣鍛練出他的手造 

功夫起來。這楨照片的前面 , 有一張小枱子 , 枱子雖小 , 但也放了十來組物件 , 包括林與 

Y 共遊東歐 , 回來後發表在台灣聯合文學 , 當時使用過的一大疊原稿黑白照片。照片有點 

特別 , 都是經影印機輾轆過 , 因而有一些圖像附加在照片的表面 ; 也有十來冊林為香港的 

文化視野叢書設計封面的冊本。林海來了多倫多之後 , 最初的幾年還常常為香港的客戶做 

圖像類別的工作。林好像提過 , 他設計這組冊本的封面 , 要讓人們從遠處 , 或是在任何場 

合 , 一眼便能呼喚出對它們的記憶。他著實做到了 , 但其實主要的還是這套書的內容 , 應 

該大記一功。這套書有二十來冊 , 如今都成了珍本。不過有點倒是吊詭 , 林怎樣也記不起 

這套書出了多少冊 , 顯然他手中也沒個齊全本。好像大家對一個城市 , 印象中留著一個整 

體的記憶。誰也沒有一個全像。書的出版人在一次意外 , 給掉下來的書衝擊得失去知覺 , 

很大段時間沒人察覺因而離世。林海這個空間 , 四週都生長著這樣那樣各式各樣的故事。 

小枱子的正中 , 還放了一張海拍的照片 , 窄度橫二十吋許 , 在一個玻璃座子上站立著。這 

組照片海拍了二十多張 , 內容都是拍攝公園的 , 海稱這組作品為山海經 , 由於是用大片幅 

拍攝 , 照片保留了被攝物的很多細節。照片旁邊放了一具木製的照相機 , 也是其中一件展 

品 , 相機是林特意為海拍攝這組照片而造。大片幅照相機在戶外使用並不是一件簡單的 

事 , 單是說對景物的對焦就比較複雜。所以常常看見在戶外使用大片幅照相機的人 , 都用 

大幅布塊覆蓋著伸進照相機對焦屏的頭 , 目的是遮擋陽光 , 當然也同一時間滿頭大汗。林 

打造的這具照相機就完全地拼棄了這些 , 此物完全沒有對焦這事兒 , 因為該相機特意為拍 

機上的訊息。我們已沒有甚麼私隱可言。不過林也沒怎的想過私 

隱這回事 , 他寫這個小說主要還是想與別人分享他走過的路。林 

忽然發覺這個展覽和他正要寫的小說很接近 , 都是過去的鋪陳。 

林也想像他是一名繪畫創作人 , 面前幾幢空白的牆猶如大幅大幅 

的油畫布 , 他手中拿著滲滿顏料的掃子 , 如上帝在創世紀 , 也許 

是憑著記憶也許是驟然直覺 , 這邊豪筆一揮安設了一枚大山 , 那 

端末處又放了一尾長長的河流。河邊一叢荗盛的蘋果樹。林放上 

去的 , 也有頗零碎和細節的 , 例如他們去國加拿大後 , 從前的攝 

影工作室又轉身成為原地第一個攝影畫廊。也有林海還未進入攝 

影圈子之前他們的木刻版畫時段 , 還在半完成狀態的木刻原板。 

無論在牆上抑或是紙本 , 這麼多的故事 , 也許都是一些引子 , 你 

看見牆上一抹光鮮油彩 , 不過是背後一組照片的選段。也很難說 

誰個閱讀得最透徹 , 對屋子的白 ; 身邊每天閱讀你的人們 ; 還是 

遠方在人造衛星工作枱前的數據操作員。這個展覽 , 一面迎著兩 

扇落地玻璃窗的風景 , 二百來件物件 , 大體上已經裝擺就緒。林 

想 , 單是簡短腳註也可以做一冊小書。當然 , 也可以換一個角度 

去想 , 既然林的擺放是那麼的隨手掂來 , 要是他把一切的擺放重 

來 , 一定會是另一番風景。創世紀也是如此。蘋果樹換上蘑菇 

菌。又是這樣好的一個陽光明媚星期六 , 還是快點吃完這碟子早 

餐 , 清空杯中的咖啡 , 到外邊吸吸新來的空氣。說不定 , 在街上 

會遇上 , 把相機留在屋子的白。 

攝是項照片而對焦方面早已作好安排設定。林與海作為職業攝影師多年的背景 , 影像質素 

是必然的考量選項 , 技巧是每個職業攝影師必經之路。但是如何不著言詮 , 打從草叢中走 

出來 , 用肉眼看用心感 , 那是因人而異的事。林打造的這具照相機 , 不消說對焦屏 , 連一 

般照相機所擁有的觀景窗也沒有。換句話說 , 此物身光脫脫 , 獨得優質鏡頭 , 以及能夠準 

繩度使用大片幅感光材料而已。林相信這是一個哲學的問題 , 把靈魂從一件冰冷的工具拖 

曳出來 , 在林木萬物面前 , 用肉眼觀察 , 用心交感。海對林說 ,「這個就算是你送給我的 

結婚三十週年禮物吧」(2011)。相隔這麼遠的距離 , 相信白也看不出那麼多的細節 , 

不過也不可一言而盡 , 從太空望下來的人造衛星不也就是說能夠看清楚四吋內的物件 , 手 

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

Greenwood 

Kai Chan 

Drawing 

28 x 18 cm, acrylic paint on paper

Gary Michael Dault 

From the Photographs, 

2010-2024 

Number 26: Diadem or Deco Droplet (2010)

Caffeine Reveries 

Shelley Savor 

Spring Rabbit

ProTesT 

Cem Turgay

The Photograph 

Selected by 

Kamelia Pezeshki 

Whispers of Liberation by Negar Pooya

Travelling Palm 

Snapshots 

Tamara Chatterjee 

USA (September, 2016) – We spent a good part 

of the day wandering along the long stretch of 

the High-Line, amused by the artisan market 

and art installations, of the city view and 

of course people watching. Thinking back, 

that short sejour in New York holds so much 

more significance than I might have imagined 

almost a decade later.

CHEEZ 

Fiona Smyth

Black Flowers: Drawings 

by Malgorzata Wolak Dault

THE 50 GLADSTONE 

(Works, Objects, Artifacts, 

1976 to current) 

An Exhibition and Books, 2024 

Lee Ka-sing and Holly Lee 

April 27 to July 28, 2024, 

Toronto

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. 

9 works from 

OP Editions in the 

fourth 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.

Hisun Wong 

Untitled, 1996 

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

Number 1/20 

Signed, and numbered on verso 

OP Edition 

Hisun Wong

Jennifer Cheung 

Untitled 

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

Number 1/20 


OP Edition 

Jennifer Cheung

Peter Yung Wai-chuen 

Autumn Floods II 


Number 2/20 


OP Edition 

Peter Yung Wai-chuen

Leung Ping-kwan 

Europe after rain, 1992 

8x10 inch, gelatin silver print with hand-written texts on front (printed in the 90s) 

Number 2/20 

Signed, titled and numbered on verso 

OP Edition 

Leung Ping-kwan

Osamu Muranaka 

Recollections #16 


Number 1/20 


OP Edition 

Osamu Muranaka

Normal Jackson Ford 

Water Palace, Ruined, 1996 

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

Number 1/20 


OP Edition 

Norman Jackson Ford

Yvonne Lo Yuen Man 

A False Picture of Liberty, 1997 

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

Number 1/20 


OP Edition 

Yvonne Lo Yuen Man

Evangelo Costadimas 

Omer with gun, 1997 


Number 1/20 


OP Edition 

Evangelo Costadimas

Chan Wai Man 

The Land at Chek Lap Kok, 1992 


Number 1/20 


OP Edition 

Chan Wai Man

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 2024-0415

Create successful ePaper yourself

Delete template?

Save as template?