MONDAY ARTPOST 2024-1028

MONDAY
ARTPOST
2024-1028
ISSN1918-6991
MONDAYARTPOST.COM
Columns by Artists and Writers
Bob Black / bq / Cem Turgay / Fiona Smyth
/ Gary Michael Dault / Kai Chan / Kamelia
Pezeshki / Lee Ka-sing / Malgorzata Wolak
Dault / Shelley Savor / Tamara Chatterjee /
Tomio Nitto / Yam Lau /
Holly Lee: Shan Hai Jing 25 photographs
(2010- 2013)
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

http://kasingholly.com

Travelling Palm
Snapshots
Tamara Chatterjee
Canada (August, 2022) – We arrived at the
Mississaugas of the Credit First Nation annual
pow-wow for the first time curious and excited.
It somehow felt nostalgic, reminiscent of my
earliest memories of observing a First Nation
assembly. For several hours under a beautiful
blue sky; we gathered - mindful of the sacred
space, respectful of our privilege and delighted
with the discoveries.

Caffeine Reveries
Shelley Savor
Big Guy In The Pool

ProTesT
Cem Turgay

Gary Michael Dault
From the Photographs,
2010-2024
From the Photographs, 2010-2024
Number 51: Brussel Sprouts

The Photograph
Selected by
Kamelia Pezeshki
From the Scattered series, Artichoke no. 1 by Kamelia Pezeshki

Poem for Holly
Urszula Wolak-Pulwer
Touch a beam of light
Spirits of your ancestors
are wandering
They will stop with you
Spirits of your ancestors
pardoned the earth
You will be where you want to be
With the blowing of the wind
Seeing or no seeing
Everything is up to you
Spirits of your ancestors
blessed the earth
You will be like a blowing
dandelion
Crossing the space
Stopping where
the beam of light
calls upon you

Poem a Week
Gary Michael Dault
The Philosopher’s Cottage
thinking by himself
behind shutters
with distance
outside
a pair of flaccid trees
beyond the windows
to attach
with anger
when ideas fail
which are what?
that rigidity
can deliver insight?
that a hammer
can hold something
in place?
that Being
is the Taking
you don’t take?
then there’s a hot train
rattling beyond the woods
with foaming cars
and cigar smoke
is it possible
the passengers
will stay bounded
and not speak
to one another?
and he calls out
like a bird
pulling threads
from his distemper
his disclosures
gleam in the moonlight
bright as the eyes of animals
passing
as the train
slows
the consequences
of pecking at
his block of truth
start to form again
the way the sun
fills in shadow
his hands are open
this is how
a true day begins
as the wounds
of thinking
go down before
his prancing pulse
the open window
admits the hard breeze
of his rustling
licentiousness
he will write up
these notes
before the waters
recede
before he has to
go home
where there is little
of kindness

CHEEZ
Fiona Smyth

Greenwood
Kai Chan
Drawing
35 x 43 cm, acrylic paint on rice paperr

Sketchbook
Tomio Nitto

Sushi Grass in Paradise
(Facsimile Edition)
By Holly Lee (1953-2024)
Format: 8x10 inch
480 pages
Published by OCEAN POUNDS
CAN$80.00
This book is the Facsimile Edition of the work
in fiction currently showing in an exhibition
at WMA in Hong Kong.
“Sushi Grass in Paradise” ( 壽 司 草 邊 的 天 堂 )
is a novel written by Holly Lee, with a Chinese
translation by 宋 子 江 and book design
by Lau Ching Ping.
“Her other new work is the novel Sushi Grass
in Paradise, written between 2019 and 2020.
It weaves together the mundane incidents
and events in a foreign place, including what
is in the past, the present, and the future,
creating a paradise-like earthly existence.”
(WMA)
Order from BLURB
https://www.blurb.ca/b/12147281-sushigrass-in-paradise-facsimile-edition

Night Owl Sonata (in one
movement)
By Holly Lee (1953-2024)
Format: 6x9 inch, Hardcover
152 pages
First Edition, Limited to 100 copies
Published by OCEAN POUNDS
CAN$45.00
Night Owl Sonata is a collection of 40 poemprose
pieces that reflect Holly Lee’s profound
growth as a writer. Composed during a
reflective and transformative period of her
life, these works were originally published in
MONDAY ARTPOST. The book is a testament
to Holly’s enduring creative spirit, with writing
that embodies the grace and clarity of a
seasoned artist who had reached the pinnacle
of her literary craft.
Order from BLURB
https://www.blurb.ca/b/12144767-nightowl-sonata-in-one-movement

TERRAIN, eleven. (Photographs by Lee Ka-sing, haiku by Gary Michael Dault
in response). Read this daily collaborative column at oceanpounds.com
Verticality
I loved a vertical world
where you were a spire
Time rests too much

Shan Hai Jing
25 photographs (2010- 2013)
Holly Lee
Holly created a total of twenty-five pieces for her Shan Hai Jing series,
with photos taken between 2010 and 2013. Originally intended as an
ongoing project, the series was captured with a 4x5 large-format camera
using 6x12 cm positive roll film. About two years ago, we discovered that
the entire collection of scanned files had been lost. The images published
here are low-resolution files sourced from web pages originally set up for
viewing purposes, displayed in inconsistent sizes. In the future, if we plan to
publish books or release new prints, we could rescan the original film—an
advantage of analog materials. While they lack the convenience of digital
media, they also offer other benefits.
These photos were taken with a large-format camera I assembled for her. I
have written an article about the design concept of this tool, included here
as a reference. In my poem, “Holly descending a staircase from the third
floor to the gallery, about to go out to make a photograph at Trinity Bellwoods
Park,” I mention Holly preparing to photograph in the park, referring to this
Shan Hai Jing project. Her entire series focused on parks. The elf dolls and
mythical creatures, as mentioned in the poem, were hidden and beyond sight
among the branches and twigs. In a way, this series can also be described as
conceptual work.
(Ka-sing, October 2024)

“Shan Hai Jing is a photographic collection of park panoramas, a travelogue
through time, myths and imagination. Having lived for a number of years
in Canada, I started to feel a sense of belonging, and eager to explore
different textures of the city. I started to photograph parks, which are
abundant in Toronto. The preoccupation of shooting parks perhaps arises
from the aspiration of wanting to see things beyond specific time, space and
geographic locations. A mind journey. Are there more stories to tell, things
to be reckoned with in these seemingly ordinary places? My passage is not
guarded nor ruled by time. Moving between the real and the imaginary,
springing and bouncing off the trampoline to create free falls. In other
words, my idea is to “rephrase” the ancient Shan Hai Jing texts with my
own observation and narration, mixing contemporary and old, familiar and
unfamiliar, visible and invisible, an acrobatic act springing back and forth
in the arc of time.” (Holly Lee)

Parks, like libraries, are gems in our city. Bountiful and beautiful. I’ve been
wanting and waiting to photograph them. It took me ten years to realize
this is my response to Shan Hai Jing. Shan Hai Jing, literally translated as
Collection of Mountains and Seas, is an ancient literature on geography and
mythology in China.
After the law of constant change is the law of birth, death and re-birth. How
much has our world changed since the first century? How does a person of
the 21st century view the world with vision pondering the present, future,
and past? Rewind, fast-forward and pause.
Ancient travelers had mighty encounters. They described them with
their own understanding that could be shocking, confusing and most
often misinterpreted. Yet we are inspired, and even enriched by the same
ambiguous, enigmatic 2000 year old texts.
My passage is not guarded nor ruled by time. Moving between the real and
the imaginary, springing and bouncing off the trampoline to create free
falls. Geographically speaking and timing wise it started from Latitude
43.643996, Longitude -79.427669 in the year of 2010.
(Holly Lee)

Morning after the Winter solstice

After the tunnel emerge gigantic trees and towers

The Sorceror’s Winter Garden

The Structure with five basketball hoops waiting for a team to score (I)

The Structure with five basketball hoops waiting for a team to score (II)

Singing Tree portrait

A Picnic Day, BCE 250

Bird with long neck

Under the Bodhi tree

The spot where the three-legged dog disappeared

Eat fruits from these tress and grow another five feet

Chew up the fallen leaves and sing like nightingales

White Shadows swallowing up stones one by one

A flock of gold-shedding birds flew past the woods

The Serpent undulates its way to the tree

Inhabitants become transparent when the sky turns blue

A glowing object moving closer to another

Picnic
Written by Holly Lee
I sat on the office chair we brought from Hong Kong with eyes closed. It was used as
a prop for a commercial shot many years ago. Birds outside my window twittering; the
room in front of me melted away. I thought of Robert Frank; he sat watching the sea.
Birds jumping from branch to branch chirping, in Cape Breton. I imagined myself as
Robert Frank so I could hear the sea.
In my mind journey I invent mountains and seas, in parks, in my proximity. It began
in 2010, the first image I saw was a picnic day, BCE 250. A modern age with a dash of
antiquity.
Faint commotion, tiny buzzing activities! I need a loupe to see what’s in there and
who’s doing what. Three people were sitting on the right. Wasn’t this scene Manet’s
picnic on the Grass? Wrong, the name of the famous painting is Luncheon on the
Grass. Manet painted it in 1863. Picnic on the Grass is the name of an oil painting on
Saatchi Art, by a 21st century painter Igor Zhuk. He was born in Kyiv, Ukraine - the
capital most talked-about now because of the war. In my picture, in Manet’s, and in
Igor’s, they all show a group of three people sitting, either gazing towards the viewer,
or engaging in their own conversation. It is a fine day for picnicking. These sediments
settled and coalesced into the organic churning of my mind, part primeval, part close
range. Reality is in a state of flux. I pluck a point in time like plucking the string of a
harp.
Here, along the grass where the three people were sitting, a creek was once flowing.
It stretched the length of the park and flowed beneath a bridge. The creek had since
long dried up and the bridge was dismantled, buried up in the same spot. A little down
south is the buried foundations of a college, a Gothic-Revival architecture built more
than a century and a half ago.
The park managed to evade concrete invasions. From the ridge of the dog bowl - the
last remnant of the creek ravine within the park, one can see the city tower, devouring
the ravishing sunset and sunrise. Dogs partying unleashed in the pit throughout the
year. In the winter, people go tobogganing. Someone told me they spotted more than
two white squirrels in the snow. I asked which ones? To distinguish the species, albino
squirrels have red eyes, white squirrels have black.
I sat in front of the computer fully immersed. I could keep on digging, repeating the
dull work of an archeologist and still finding things. I was led to a website where a
LIVE-NFT button was blinking, luring me to push. I ignored it, resisting this to be my
future. Universe, multiverse, metaverse. Virtual reality is not just mimicking our world;
it is gradually taking over. Despite legions of phenomenal thinkers, it is still confusing
to step into the future. Does spirituality need to be redefined? Would it become God,
this powerful superintelligence that qualitatively far surpasses all human intelligence?
This singularity, is he God?
Quieting down my fear for the future, I return to some of my photographs of the parks;
revaluing their significance, contemplating their resemblance to realistic landscape
paintings. They look calm, insipid and uneventful. But some genies seem to be lurking
behind the scenes. Zooming back to fifty years, a hundred or a thousand years, these
landscapes buried countless anonymous stories that never passed down, nor made
marks on the same patches they are now standing on. I close my eyes; I roll back and
forth the office chair I am sitting on, freeing my mind to do the traveling. In a eureka
moment I fly over mountains and valleys, rivers and seas, arriving at cloud cuckoo
land; places where myths live, die, and begin. I see a flock of gold-shedding birds
flying past the woods; a glowing object moving closer to another; giant bird with a long
neck; summer through winter, a structure with five basketball hoops waiting for a team
to score.
I lift my head and squint my eyes at ten scorching suns, waiting for the archer. The
blinding light, the searing suns! I duck and collapse into the minuscule of being. I hear
sweet birds sing outside my window. The room, now big, now small, opens all doors to
the ocean. On the spur of the moment, I understand the birds’ language.
history, mythology
slip by
under our gaze, every Day -

李 家 昇 寫 照 相 機 - 山 海 經 , 4x5
Written by Lee Ka-sing
楚 喬 說 , 這 個 就 算 是 結 婚 三 十 週 年 你 送 給 我 的 禮 物 吧 。
這 具 4x5 的 照 相 機 是 大 約 在 2010 年 底 , 我 裝 嵌 給 楚 喬 拍 攝 一 組 她 稱 為 「 山 海
經 」 的 照 片 。 照 片 在 她 心 中 已 醞 釀 了 一 段 時 期 ,2010 年 才 開 始 拍 攝 , 她 拍 攝
多 倫 多 的 公 園 。 其 實 也 不 一 定 是 多 倫 多 , 只 是 從 周 邊 附 近 先 開 始 而 已 。 開 始
的 時 候 , 她 使 用 SINAR Handy, 用 6x12 片 背 , 一 卷 120 膠 卷 可 拍 六 張 。SINAR
Handy 有 可 移 動 鏡 板 , 我 們 有 90mm,65mm 及 47mm 鏡 頭 可 選 用 , 都 是 鏡 後
有 螺 旋 環 可 以 調 校 焦 距 。Holly 選 用 了 47mm, 她 的 照 片 是 橫 1 比 3 的 比 例 , 換
句 話 說 ,6x12 的 片 幅 還 要 裁 去 上 或 下 的 少 許 。
這 個 「 山 海 經 」 計 劃 , 她 試 拍 了 一 點 , 便 換 上 了 這 具 改 裝 過 的 照 相 機 。 由 於 相
機 主 要 設 計 用 來 完 善 這 項 拍 攝 計 劃 , 這 頭 工 具 , 就 也 姑 稱 之 為 「 山 海 經 」 吧 (
下 文 簡 以 「 山 」 為 代 號 )。 其 實 SINAR Handy 已 經 是 很 輕 便 的 4x5 照 相 機 , 山
的 重 量 是 SH 的 一 半 。 木 造 , 但 後 組 裝 片 的 部 分 仍 沿 用 了 SINAR 的 配 件 。 鏡 頭
直 接 裝 在 機 身 並 拼 棄 了 調 焦 功 能 。 從 鏡 間 到 片 背 的 距 離 固 定 在 「 無 限 值 」, 照
相 機 的 機 身 厚 度 約 為 47mm, 即 大 概 相 當 於 鏡 頭 的 焦 距 。
簡 單 的 說 , 這 頭 照 相 機 是 完 全 沒 有 對 焦 功 能 ( 也 許 正 確 的 說 是 不 用 對 焦 ), 它
也 沒 有 外 置 觀 景 器 。 當 然 , 有 著 高 質 素 的 鏡 頭 , 也 可 調 校 光 圈 。 這 個 拼 棄 的 過
程 , 除 了 棄 去 不 必 要 重 量 , 簡 樸 以 便 服 , 更 主 要 的 還 是 一 個 哲 學 性 的 考 慮 。 拍
攝 的 過 程 也 即 是 心 理 活 動 的 過 程 。
山 比 一 具 35mm 單 反 還 輕 。 使 用 一 支 我 們 手 上 最 小 號 的 Gitzo 或 Linhof 三 腳 架
已 足 夠 。 架 起 相 機 先 要 固 定 好 水 平 。 這 是 觀 點 的 問 題 。 然 後 選 定 景 物 的 中 間

點 。47mm 鏡 頭 在 4x5 機 相 當 於 14mm 鏡 頭 在 35mm 照 相 機 , 涵 括 點 約 105 度 ,
假 若 你 心 中 有 一 枚 量 角 器 , 大 概 可 以 預 見 到 從 左 方 至 右 方 會 括 進 甚 麼 景 物 。 拍
攝 如 此 景 物 , 我 相 信 大 片 幅 會 比 小 片 幅 為 恰 當 , 當 然 這 是 主 觀 的 看 法 。 又 或 你
想 景 物 有 盡 量 稀 少 細 部 訊 息 , 那 麼 小 片 幅 已 是 足 夠 了 。 這 是 大 物 縮 小 再 還 原 ,
其 間 所 流 失 份 量 的 考 量 。 當 然 , 優 良 的 工 具 可 以 比 較 有 効 地 控 制 流 失 量 。 不 過
我 認 為 大 片 幅 與 小 片 幅 的 比 較 , 更 主 要 的 是 使 用 不 同 工 具 在 一 個 相 同 環 境 中 所
衍 生 出 來 的 不 同 心 理 狀 態 , 假 若 我 們 抽 象 地 假 設 兩 者 都 可 以 給 出 完 全 相 同 的 結
像 質 素 。 一 個 比 較 簡 單 的 論 述 , 用 小 型 機 你 會 多 拍 幾 幀 , 使 用 大 片 幅 照 相 機 你
會 看 得 準 確 , 或 是 醞 釀 , 或 是 推 敲 , 方 才 按 下 快 門 。 是 這 個 原 因 , 即 使 不 同 的
大 片 幅 照 相 機 , 使 用 上 由 於 要 照 顧 不 同 細 節 , 也 會 衍 生 出 不 同 的 心 理 狀 態 。 走
文 及 此 , 相 信 可 以 領 會 出 另 造 一 具 照 相 機 的 囑 意 。 也 樸 素 也 華 麗 , 它 背 後 是 有
著 複 式 的 考 量 。 我 們 抽 掉 了 在 戶 外 使 用 大 片 幅 照 相 機 , 取 景 對 焦 等 複 雜 程 序 。
甚 至 , 完 全 不 提 供 觀 看 取 景 器 的 機 會 , 不 周 旋 於 構 圖 細 節 , 你 站 在 大 自 然 的 前
面 , 裸 眼 觀 察 , 物 像 與 心 像 合 而 為 一 。 併 棄 了 小 的 觀 景 窗 , 其 實 是 一 個 大 的 觀
景 窗 。
楚 喬 的 「 山 海 經 」 系 列 照 片 , 屬 於 簡 約 直 接 拍 攝 , 同 時 又 是 非 常 觀 念 性 的 作
品 。 很 需 要 保 留 盡 可 能 擁 有 的 細 節 , 所 以 適 宜 使 用 較 大 的 片 幅 。 此 外 , 工 具 的
可 㩗 行 性 以 及 操 作 上 的 忘 我 程 度 , 拍 攝 當 刻 的 心 理 狀 態 都 可 能 與 照 片 產 生 著 關
係 。 由 於 本 文 主 要 是 談 及 照 相 機 背 後 的 設 計 理 念 , 我 就 不 再 進 一 步 去 釋 及 她 作
品 本 身 。2014 年 寫 了 一 首 詩 , 有 著 一 個 很 長 的 題 目 :「 正 在 下 樓 梯 的 Holly,
從 三 樓 走 到 地 面 的 畫 廊 。 她 正 準 備 外 出 到 Trinity Bellwoods 公 園 拍 攝 一 張 照
片 」 我 寫 她 從 家 中 經 過 畫 廊 到 鐘 活 公 園 拍 照 。 這 個 過 程 某 程 度 也 是 多 年 來 掙
扎 , 友 情 , 活 動 , 思 考 的 過 程 。 我 說 鐘 活 公 園 的 樹 梢 倒 掛 著 神 話 的 精 靈 , 也 即
是 楚 喬 述 說 婆 娑 樹 影 鱗 光 閃 閃 的 背 後 。
你 看 透 春 天 按 下 快 門 捉 住 四 季 變 幻 於 一 身
seeing through springs, you press the shutter and capture four seasons’ ups and downs in
one frame
我 將 該 詩 最 的 一 行 抄 下 作 為 本 文 結 語 , 以 及 附 錄 楚 喬 寫 的 一 則 關 於 「 山 海 經 」
照 片 的 序 述 , 提 供 給 有 興 趣 的 朋 友 作 為 助 讀 。
“Shan Hai Jing is a photographic collection of park panoramas, a travelogue through time, myths,
and imagination. Having lived in Canada for years, I started to feel a sense of belonging and was
eager to explore different textures of the city. I began photographing parks, which are abundant in
Toronto. This focus on parks perhaps stems from a desire to see beyond specific times, spaces, and
geographic locations—a mind journey. Are there more stories to tell, more things to reckon with in
these seemingly ordinary places? My passage is not governed by time. Moving between the real and
the imaginary, springing and bouncing off the trampoline to create free falls, my idea is to ‘rephrase’
the ancient Shan Hai Jing texts with fresh observation and narration, mixing contemporary and old,
familiar and unfamiliar, visible and invisible. It’s an acrobatic act, springing back and forth in the arc
of time.”

On Camera, Shan Hai Jin, 4x5
Written by Lee Ka-sing
Holly refers to this as a present for our thirtieth anniversary.
This 4x5 camera was built in 2010 for Holly to shoot a series of photographs in
Toronto’s parks, entitled Shan Hai Jin. Initially, Holly used a SINAR Handy with a
6x12 film back, which allowed a 120 roll film to take six frames. Our SINAR Handy
was equipped with a shift lens board and three lenses—90mm, 65mm, and 47mm—all
with focusing devices. She chose the 47mm lens. Her final photographs were in a 1:3
ratio, meaning that for a 6x12 image, either the top or the bottom had to be cropped
slightly.
I built this camera for her shortly after she started the project. The SINAR Handy is
already quite a compact 4x5, but the one I built is only half the weight. I removed
the focusing device, mounting the lens directly on the body with the focal distance
preset to infinity. This camera was made of wood, and I retained the rear portion of the
original SINAR.
This camera has no focusing device because it’s simply unnecessary. It also lacks an
external viewfinder. Beyond addressing the weight issue, the idea of reconstructing a
camera also had a philosophical aspect. We believe the psychological factors influence
how a photograph is taken.
This camera is lighter than most 35mm DSLRs; even our small Gitzo or Linhof tripod
is sufficient. As long as the camera is level (which is crucial) and the subject is
centered, you can estimate how much will be included at both ends. A 47mm lens on a
4x5 is roughly equivalent to a 14mm lens on a 35mm, covering about 105 degrees. For

landscape photography, the larger the format, the better. When a large piece of scenery
is scaled down to a small frame of film and then enlarged into a photograph, losing
information during this process matters. Superior lenses can maintain the quality of an
image, but they can’t overcome the limitations of the format. A smaller format could
certainly be used, but only if retaining crucial details isn’t as important.
Put it this way—even if we assume both formats can deliver the same image quality,
the psychological factor of using different-sized cameras can lead to different
outcomes. For example, with a candid 35mm camera, you might take more frames,
whereas with a large format, the process is slower, and you might think more before
pressing the shutter.
Even among large format cameras, the configuration can change how you approach the
shot. Using a large format camera on location and composing an image through the
upside-down ground glass is no simple task. That’s why I eliminated all the focusing
and viewfinder options. The camera becomes a simple piece of equipment with a
quality lens. You’re framing and focusing on the landscape with your naked eyes—a
larger and more flexible viewfinder. You estimate the shot and click the shutter.
The creative aspect takes precedence over the technical operation, resulting in a
completely different process and experience.
Holly’s Shan Hai Jin is a series of straightforward yet conceptual photo works. The
subject requires more detail to convey the content, which is why a large format was
used. However, the images are driven more by emotion than by technical perfection.
The camera was constructed with these considerations in mind. In 2014, I wrote a
poem about her going out to take a photograph at Trinity Bellwoods Park. The journey
I described, from home on the third floor, to the gallery at the ground level, and then to
the park. It is also a journey through the years we’ve lived in this city—the struggles,
friendships, activities, and reflections. I’ll end this piece with the last line of my poem:
你 看 透 春 天 按 下 快 門 捉 住 四 季 變 幻 於 一 身
seeing through springs, you press the shutter and capture four seasons’ ups and downs in
one frame
Holly has written an introduction to her Shan Hai Jin series, which I quote below:
“Shan Hai Jing is a photographic collection of park panoramas, a travelogue through
time, myths, and imagination. Having lived in Canada for years, I started to feel a
sense of belonging and was eager to explore different textures of the city. I began
photographing parks, which are abundant in Toronto. This focus on parks perhaps
stems from a desire to see beyond specific times, spaces, and geographic locations—a
mind journey. Are there more stories to tell, more things to reckon with in these
seemingly ordinary places? My passage is not governed by time. Moving between the
real and the imaginary, springing and bouncing off the trampoline to create free falls,
my idea is to ‘rephrase’ the ancient Shan Hai Jing texts with fresh observation and
narration, mixing contemporary and old, familiar and unfamiliar, visible and invisible.
It’s an acrobatic act, springing back and forth in the arc of time.”

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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.
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.
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.

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