MONDAY ARTPOST 2024-1216

MONDAY
ARTPOST
2024-1216
ISSN1918-6991
MONDAYARTPOST.COM
Columns by Artists and Writers
Bob Black / bq / Cem Turgay / Fiona Smyth /
Edwin Kwan / Gary Michael Dault / Kai Chan /
Kamelia Pezeshki / Lee Ka-sing / Malgorzata
Wolak Dault / Shelley Savor / Tamara
Chatterjee / Tomio Nitto / Yam Lau /
Night Reading 夜 讀 記
Photo Album: Holly at home
Thousand Objects. A Memoir《 千 物 誌 》
I gather the sorrow of darkness into the pages of a book
Lee Ka-sing’s Self-Portrait
Childhood Lee Ka-sing holding a circular object
On Circular Objects in the Tú Hua Yuán Jì Series
Four Stanzas of a Poem
From Recycled Paper to a Text About the Concept
of Cycle
Ship Indicator Panel
Duchamp’s Rotative Object
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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Lee Ka-sing’s Night Reading
The Night Reading series began in November 2024, about
two months after Holly’s passing. Following her departure, I
started organizing the things she left behind. In addition to her
photographic and textual works, there were also a large number of
personal diaries, creative notes, and travel journals. Naturally, these
included many of the letters we had exchanged as well.
I usually go through these materials at night, after dinner or
before bed. Night Reading could be described as reflections on
these remnants—fragments of memory, a kind of conversation,
sometimes even a whisper, between us. This dialogue will continue
over a long period of time and serves as a way for me to hold her
in remembrance. While its form will remain consistent, the imagery
will diverge, branching out into different directions as the years
pass.
Night Reading
For the first entry of Night Reading, I chose her diary entry from
Friday, August 23—the last one she wrote, 20 days before her
passing: “Book delivered today. Ka-sing made a portrait.”
The “book” refers to Sushi Grass in Paradise, a set of sixteen
books shipped from Taiwan by Ching Ping. The “portrait” is the
photograph I took of all the books arranged on the table in our
sitting area. Holly and I shared fifty years together; we understood
each other as if seeing clearly into a mirror. Looking at these diaries
transports me instantly back to moments long past, even revealing
depths I hadn’t noticed at the time. And so, I find myself adrift,
overwhelmed by a profound sense of loss.
More about Night Reading
reads.doubledouble.org/2024/11/night-reading.html

1973-04-10
2003-06-26 1973-04-10 2024-08-23
Night Reading 夜 讀 記

2003-10-05
2003-06-26 2003-10-05
Night Reading 夜 讀 記

1000objects.leekasing.com
Thousand Objects. A Memoir
李 家 昇 《 千 物 誌 》
I gather the sorrow of darkness into the pages of a book
我 想 把 黑 色 的 哀 傷 都 收 納 在 一 枚 冊 本 裡
(PUBLICATION: an elegy, 6x9 inch, 112 pages, 2024)
After the passing of Holly, I created a work in October consisting of fifty photographs.
It was included in TERRAIN, a collaborative project with Gary Michael Dault, in
which he wrote fifty pieces of haiku to accompany the images. This became the
eleventh volume of TERRAIN. Later, I developed my fifty photographs into a separate
book—essentially a poem composed with photographs.
The book is smaller in size, measuring 6x9 inches vertically. Each photograph spans
a full spread across two pages. Since the original images were square, a small portion
from the top or bottom had to be cropped. Additionally, some details in the center of
the images are slightly lost in the gutter where the two pages meet. However, these
minor losses in the visuals are not critical—the main focus is the overall impression,
the flow, and the emotion conveyed by the work as a whole.
The entire book feels heavy, deep, and profoundly dark. I titled it “an elegy”. The
cover features a line of Chinese text: 我 想 把 黑 色 的 哀 傷 都 收 納 在 一 枚 冊 本 裡
(I gather the sorrow of darkness into the pages of a book). The black cover was created
by layering several of the darker photographs on top of one another. Today, I just
received the printed book from the printer. The entire book can be viewed online here:
reads.doubledouble.org/2024/10/elegy.html
楚 喬 離 去 後 , 我 在 十 月 間 做 了 一 個 作 品 , 共 五 十 張 照 片 。 放 在 與 Gary Michael
Dault 合 作 中 的 TERRAIN, 他 寫 了 五 十 闕 俳 句 。 是 為 TERRAIN 的 第 十 一 冊 。 後
來 , 我 把 我 的 五 十 張 照 片 , 另 外 構 成 一 本 書 , 一 首 以 照 片 寫 成 的 詩 。 這 個 書 較
細 小 ,6x9 吋 直 度 , 我 把 每 張 照 片 做 個 通 版 對 頁 。 原 來 的 照 片 是 方 度 的 , 因 此
需 要 上 或 下 裁 去 一 點 , 而 且 , 照 片 的 中 部 , 也 會 因 兩 書 頁 的 相 連 位 , 而 有 一 點
會 略 去 。 不 過 這 些 畫 面 上 的 一 點 流 失 , 也 不 是 那 麼 重 要 , 主 要 的 還 是 整 體 。 整
體 流 動 產 生 起 來 的 感 覺 。 整 本 書 都 是 深 沉 , 黑 重 重 的 , 我 把 題 目 稱 做 an elegy
( 哀 歌 )。 封 面 放 了 一 行 中 文 寫 的 [ 我 想 把 黑 色 的 哀 傷 都 收 納 在 一 枚 冊 本 裡 ]。 黑
色 的 封 面 , 其 實 是 幾 張 較 深 沉 的 照 片 重 疊 在 一 起 。

Lee Ka-sing and Holly Lee Archive: Photo Album ( 照 片 冊 )
(December 14, 2024) Holly at home,
surrounded by friends and sweet
memories: Our three-fold self-portrait
taken at the first studio in Lan Kwai
Fong in 1977; the triptych portrait
connected to the memorable feature
at Being Hong Kong 2023 and the
exhibition at WMA 2024; the Istanbul
cat from a trip with Kai; the “hand-up”
cat from Gotokuji, tied to dear friends
Shimao Shinzo, Ushioda Tokuko, and
Nobuyoshi Araki; a creature from
Shelley Savor; Peace Garden from
Tomio Nitto; the “happy hollyday
1983” from Ka-sing, 59 days before our
beloved daughter was born; Sukimoto
once walking into her Both Sides Now
series; the family portrait of Iris-Holly-
Sing-Suki; a carved wooden tree from
Alice Chik; a wooden duck from Tommy
Li; Chloe Li’s fabric penguin, once
featured in Sushi Grass in Paradise;
shells evoking memories of Cathay
Pacific assignments; an early Antonio
Mak Hin-yeung piece, gifted as a
wedding present by Mak; Evaporation,
a 2024 collaboration with Bill Grigsby;
a hand-embroidered bauhinia from
Ah Lit, a new friend she met at her
memorial; and the happy Buddha, a
longtime resident in our home…

Edwin Kwan

Gary Michael Dault
From the Photographs,
2010-2024
From the Photographs, 2010-2024
Number 58: Balustrade, Paris Opera, 2014

The Photograph
Selected by
Kamelia Pezeshki
Ministry of shadows by Keijo Tapanainen

Greenwood
Kai Chan
Drawing
43 x 34 cm, acrylic paint on rice paper

CHEEZ
Fiona Smyth

Poem a Week
Gary Michael Dault
Reading around in Gu Cheng, Sea of Dreams
(New York: New Directions, 2005):
Cooking Fire
of course Gu Cheng
was with his father then
fires burn hotter with a
father nearby
we all need followers
and someone to follow
I would like the courage
to burn poems
in the cooking fire
as Gu Cheng did
so that “only flames
were their readers”
it’s a quickening pastoral
(idyll idol idle)
myself, I couldn’t bear the solitary
eyes of the flames
the burnt poem
has been consumed,
conveniently bestowed
but not yet understood
fire gets you off the hook
the hummingbird of humankind
thrills from blossom
to blossom too frantic
after one word of nectar
to settle into poetry
poems should be written
on blocks of ice
safe and sound

Sketchbook
Tomio Nitto

Travelling Palm
Snapshots
Tamara Chatterjee
Canada (December, 2024) – As autumn
turns and we plunge closer into the fringe of
December solstice, it’s apparent the winter
light is already upon us. December rarely sees
much snow, but the remnants of salt are still
crystalized to all things. And while its not
typically a thing of beauty, momentarily the
refracted translucent light was memerizing and
photo worthy.

Caffeine Reveries
Shelley Savor
Grey Days

TERRAIN, twelve. (Photographs by Lee Ka-sing, haiku by Gary Michael Dault
in response). Read this daily collaborative column at oceanpounds.com
Standing Still
words caressed
and then crossed out
stakes driven into the ground

http://kasingholly.com

We have started using SUBSTACK as our online platform for publishing
and storing materials from the archive. New content is uploaded daily,
and we will send a weekly email summarizing the week’s uploads with
links for you to explore at your own pace.
Letter to Friends of Holly and Ka-sing
Dear Friends,
This is Ka-sing from K&H Archive, short for the Lee Ka-sing and Holly
Lee Archive.
Since closing our gallery in 2018, we have been focusing on organizing
materials from the past 50 years of creative work and related activities.
After five years of effort, we’ve completed the first phase and are now
refining the archive in greater detail.
In April 2024, with an exhibition of 200 works, we officially inaugurated
the Lee Ka-sing and Holly Lee Archive, a permanent establishment
located at 50 Gladstone Avenue in Toronto.
Beyond preserving and displaying materials, we are collaborating with
organizations such as Asia Art Archive in Hong Kong. One of our
ongoing projects, titled the Lee Ka-sing and Holly Lee Art Archive,
has been progressing steadily.
Holly’s passing in September was a profound loss, both personally
and professionally. After months spent handling matters related to her
passing, we are now resuming the work of curating and organizing the
archive.
To ensure our emails don’t end up in your spam folder, please add
kasingholly@substack.com to your CONTACTS (address book).
In addition to SUBSTACK, K&H materials are also shared on Instagram
and Facebook. These platforms are convenient for real-time updates. If
you haven’t already followed us, here are the links:
Instagram: instagram.com/kasingholly
Facebook: facebook.com/leekasing.hollylee
Selected materials will also be featured in MONDAY ARTPOST.
Finally, I’d like to summarize the main components of our Archive:
1. The photographic works of Ka-sing and Holly from the past 50 years.
2. Related activities we initiated, such as QuiYing ShiKan 秋 螢 詩 刊 ,
DISLOCATION, DIGI, the OP Print Program, our gallery, and publishing
ventures.
3. Connections and influences within the art community during our time
in Hong Kong and Toronto.
4. Our writing and literary work.
I’ll share more updates next week about our progress and recent creative
developments.
Warm regards,
Ka-sing

1000objects.leekasing.com
Thousand Objects. A Memoir
李 家 昇 《 千 物 誌 》
2012 年 又 一 山 人 策 劃 了 一 個 關 於 肖 像 與 自 拍 像 的 展 覽 。 其 中 我 拍 攝 楚 喬 的 肖 像
已 發 表 過 多 次 , 後 來 我 又 將 該 個 肖 像 作 品 轉 譯 成 為 文 本 。 最 近 宋 子 江 替 我 將 該
詩 中 文 原 文 , 翻 譯 成 為 英 文 本 。 但 其 中 我 的 自 拍 像 , 展 覽 過 後 卻 完 全 沒 有 曝
光 。 該 自 拍 像 由 12 件 散 件 照 片 組 成 , 裱 在 方 木 件 上 , 各 2.5 吋 見 方 。 整 體 外 加
一 框 。 展 覽 後 此 個 展 品 我 送 予 又 一 山 人 作 紀 念 。 本 來 打 算 之 後 做 一 個 整 件 式 的
版 本 , 因 為 其 他 事 忙 而 沒 有 成 事 。 後 來 連 原 來 影 像 檔 案 都 好 像 掉 失 了 , 也 許 當
時 展 出 的 便 成 了 唯 一 版 本 。 這 個 自 拍 像 作 品 , 有 一 個 頗 長 的 題 目 :「 觀 察 一 張
攝 於 1956 年 李 家 昇 的 家 庭 照 ( 與 父 母 親 一 起 ) 他 手 中 正 拿 着 一 顆 圓 形 物 件 。 這
可 能 是 影 響 了 他 過 去 30 年 間 圓 形 物 體 不 斷 地 出 現 在 作 品 的 一 個 原 因 。」
Lee Ka-sing’s Self-Portrait: Studying a family photograph taken in
1956 of Lee Ka-sing with his parents, he is seen holding a round object
in his hand. This might explain the consistent appearance of circular
forms in his works over the past 30 years.
(PHOTO-BASED WORK: 32x4 inch, 2012)
In 2012, anothermountainman curated an exhibition exploring portraits and selfportraits.
The portrait of Holly that I contributed had already been published multiple
times. Later, I translated this photographic work into text, and recently, Chris Song ( 宋
子 江 ) translated my original Chinese poem based on this portrait into English.
However, my self-portrait from that exhibition has not been published since. The piece
consists of 12 individual photographs, each mounted on square wooden blocks measuring
2.5 inches on each side. Together, these blocks were framed as a single piece.
After the exhibition, I gifted this work to anothermountainman as a memento.
I had planned to consolidate this work into a single piece, but other commitments
prevented me from doing so. Over time, the original image files seem to have been lost,
making the exhibited version likely the only one in existence.
This self-portrait bears a lengthy title:
“Studying a family photograph taken in 1956 of Lee Ka-sing with his parents, he is seen
holding a round object in his hand. This might explain the consistent appearance of
circular forms in his works over the past 30 years.”

Childhood Lee Ka-sing holding a circular object
(PHOTOGRAPH: 3x5 inch, black and white silver print, 1956)
The family photo mentioned in the title of the self-portrait was taken
in 1956, before I left Hong Kong for Guangzhou. Between 1956 and
1962, I lived in Guangzhou with my granduncle and grandaunt. The
mentioned photo used to hang on the right wall beside the bed in the
bedroom, about eight by ten inches in size, framed with a wooden
mirror frame, serving as a focal point of the room. Through the changes
of the 1970s, the photo eventually disappeared without a trace. After
my granduncle’s passing, I recovered an old photo album from his
belongings. Among them was a smaller version of this family photo,
about three by five inches. These photos are now mostly marked by the
passage of time, riddled with wormholes.
手 拿 著 圓 形 物 件 的 童 年 李 家 昇
在 自 拍 照 題 目 中 提 到 的 家 庭 照 片 攝 於 1956 年 , 我 離 開 香 港 赴 廣 州
之 前 。1956 至 1962 年 間 , 我 在 廣 州 與 伯 爺 伯 娘 同 住 。 提 到 的 那 張
照 片 , 當 時 掛 在 睡 房 床 邊 的 右 牆 , 約 八 乘 十 吋 , 木 邊 鏡 框 , 恰 如
房 間 的 焦 點 。 經 過 七 十 年 代 的 變 遷 , 照 片 後 來 已 不 知 去 向 。 伯 爺
離 世 後 , 我 在 他 遺 物 撿 回 舊 相 簿 , 此 張 家 庭 照 有 個 小 本 的 , 約 三
乘 五 吋 。 這 些 照 片 , 大 都 佈 滿 了 蛀 蟲 的 時 光 。

On Circular Objects in the Tú Hua Yuán Jì Series (Pictorial
Journey to the Origin of Flowers)
(PHOTOGRAPH, 2009)
Around 2010, I created a series called Tú Hua Yuán Jì. For each piece,
I selected a photograph I had previously taken and paired it with a short
passage of newly written text, thereby establishing a relationship between the
two. I referred to this approach as “the study of image-text relationships.” This
series later inspired my subsequent work, Z FICTION.
One piece in Tú Hua Yuán Jì focuses on circular objects and can be seen as a
small guide to understanding my journey with circular motifs:
“I became fascinated with Duchamp in the 1980s after purchasing a set of
replicas of his works, titled Rotoreliefs (1935), at the Museum of Modern Art’s
gift shop in New York. In his various works, I later found validations of spinning
objects. My subsequent reflections on cycles, theories of endlessness, and similar
concepts are, after all, extensions of these reproductions in essence, somehow.”
「 圖 花 源 記 」 系 列 中 關 於 圓 形 物
大 約 2010 年 間 , 我 做 過 一 組 作 品 「 圖 花 源 記 」。 選 取 一 張 事 先 已 拍 好
的 照 片 , 然 後 寫 一 小 段 文 字 , 因 而 令 兩 者 產 生 關 係 。 我 稱 此 為 圖 文 關
係 學 。 也 是 因 為 這 組 作 品 , 引 申 到 後 來 創 作 的 Z FICTION。 圖 花 源 記 其
中 有 一 篇 是 關 於 圓 形 物 的 , 可 以 說 是 理 解 我 的 圓 形 物 旅 程 , 一 個 小 小
助 讀 :「 開 始 迷 上 杜 象 是 八 十 年 代 有 一 回 在 紐 約 現 代 美 術 館 小 賣 部 買
了 他 的 一 組 ( 六 張 ) 題 目 叫 Rotoreliefs (1935) 的 複 製 品 。 之 後 , 在 他 的
不 同 作 品 裡 找 到 了 旋 轉 物 的 印 證 。 至 於 後 來 我 所 思 考 的 環 迴 使 用 , 無
終 極 論 等 等 , 都 不 外 是 這 些 複 製 物 的 引 伸 而 已 。」

Four Stanzas of a Poem
(PRINT: 25x31 inches, offset print, 40 editions, 1993)
In 1993, I held a solo exhibition titled Thirty-one Photographs at the Hong Kong Arts
Centre gallery. All the original works on display were C41 color photographs, except
for one—a unique offset print titled Four Stanzas of a Poem, measuring 25x31 inches.
Earlier that year, I collaborated with designer Lilian Tang to create an oversized
company brochure for an art paper distributor. The piece in the exhibition was, in
fact, one of the original pages from that promotional material. It features an enlarged
handwritten Chinese text of mine, which, in a way, reflects my thoughts on circular
objects. I also placed it at the opening of the exhibition catalogue. Later, it was
included as one of the poems in the publication Ten Poets Anthology. The title, Four
Stanzas of a Poem, metaphorically refers to the four circular objects in the image.
The text reads:
“I was discussing with a friend the relationship between a river and its water. Our
conversation touched on Duchamp, particularly his views on readymades. An object
and its environment are like a fish and the river it swims in—you can’t simply separate
the two. This later led me to appreciate more of Barbara Kruger. A graphic designer
joined the discussion and asked about the concept of recycling images. I explained that
transforming a piece of rock into a photograph, or turning a photograph of a rock back
into a piece of rock, is simply a matter of sequence. After that, we didn’t delve deeply into
the concept of heaviness. I thought he must have seen Magritte, so when I mentioned
René, I assumed he would recognize René’s pipe, even though I had left out the title
of Magritte’s work. And so, we circled back to the original question of the river and its
water.”
1993 年 , 我 在 藝 術 中 心 畫 廊 的 個 展 「Thirty-one Photographs」, 所 展 出 的 原 作
照 片 均 為 C41 彩 色 照 片 , 只 有 一 張 例 外 , 是 以 柯 式 印 刷 的 原 作 。25x31 吋 , 題
目 是 「 詩 之 四 節 」。 在 該 年 較 早 的 時 候 , 我 與 設 計 師 Lilian Tang 合 作 為 一 美 術
紙 代 理 公 司 設 計 了 一 份 極 大 開 度 的 公 司 簡 介 冊 子 。 這 個 作 品 其 實 就 是 該 宣 傳 物
的 其 中 一 頁 原 件 。 版 面 有 我 手 寫 的 一 段 中 文 文 字 放 大 。 這 段 文 字 某 程 度 也 可 說
是 我 對 旋 轉 物 的 看 法 。 我 把 這 段 文 字 放 在 我 個 展 的 展 品 冊 子 卷 首 。 後 來 , 這 段
文 字 也 變 身 成 為 及 後 出 版 的 「 十 人 詩 選 」 裡 的 一 首 詩 。 題 目 「 詩 之 四 節 」(Four
Stanzas of a Poem) 泛 指 圖 中 的 四 枚 圓 形 物 。 文 本 如 下 「 我 和 一 位 朋 友 討 論 着 關
於 河 水 和 河 流 的 問 題 , 我 提 到 了 杜 象 。 特 別 是 他 關 於 對 現 成 物 的 看 法 。 物 象
和 它 存 在 時 空 的 關 係 , 像 一 尾 泳 在 河 床 上 的 魚 , 你 總 不 能 夠 單 獨 地 將 一 件 事 抽
離 。 這 也 是 我 後 來 開 始 喜 歡 巴 巴 拉 古 嘉 的 原 因 。 一 位 設 計 師 加 入 來 討 論 問 到 為
甚 麼 叫 輪 環 使 用 影 像 的 概 念 , 我 說 將 一 塊 石 變 成 一 張 石 的 照 片 和 將 一 張 石 的 照
片 變 成 一 塊 石 是 一 個 先 後 次 序 的 問 題 。 之 後 , 我 再 沒 有 和 他 深 入 討 論 關 於 重 量
的 種 種 猜 想 。 我 想 他 一 定 看 過 馬 格 列 特 , 所 以 , 當 我 說 到 馬 我 想 他 是 撇 掉 了 馬
的 題 目 也 一 定 懂 得 馬 的 煙 斗 。 這 樣 , 又 回 到 我 們 剛 才 談 到 河 水 和 河 的 問 題 。」

From Recycled Paper to a Text About the Concept of Cycle
(ASSIGNMENT: company profile brochure, 15.5x22.5 inches)
Many of my projects involve early-stage discussions with designers about the
development of imagery, or even the entire design direction of the work. One example
is a corporate profile brochure that created for Polytrade, a fine paper distributor. The
designer for the project was my good friend Lilian Tang, with whom I’ve collaborated
on numerous projects.
I suggested making the most of the format by using the full sheet of the paper for a
spread, creating an oversized booklet. When unfolded, each spread could also function
as a poster. Four creatives contributed to the project, including Lilian herself, along
with Li Kam Fai, Holly, and me. Each of us was responsible for a specific theme, and
mine was recycled paper.
For my section, I photographed four circular objects and overlaid with a piece of
handwritten text. The content of the text had to center on the concept of cycle, which
was the most challenging aspect of the task. My usual creative process involves
allowing ideas, thoughts, and actions to brew and take shape in my mind before
releasing them all at once in one moment. While the result may seem spontaneous,
it remains well in controlled—much like writing Chinese calligraphy. Although it
appears freehand, it is anything but random.
The text I wrote was inscribed in pencil on a small piece of paper, approximately 2 by
3 inches. It was composed directly from my mind, not transcribed, retaining the flow of
thought and its natural rhythm. The difficulty lay in completing the entire text within
the constraints of the paper while ensuring no space was left at the end—a visual
design requirement. This small piece of paper was later enlarged to about 30 inches
wide during production. The text was printed in gold, layered over the photograph.
Unfortunately, I didn’t retrieve the original small manuscript after the design company
processed it for printing. The design company printed 50 additional copies for me, with
blank backs. I selected 40 of these, numbered, and signed them. This offset printed
work, an original, measures 25 by 31 inches.
從 環 廻 再 造 紙 到 關 於 環 廻 意 念 的 文 本
我 的 工 作 有 不 少 都 是 在 開 始 的 階 段 就 與 設 計 師 商 討 , 圖 像 的 發 展 方 向 。 甚 至 ,
整 個 設 計 物 的 方 向 。 為 友 邦 紙 行 所 做 的 一 份 公 司 簡 介 冊 子 便 是 一 例 。 設 計 師 是
Lilian Tang, 我 們 是 好 友 , 也 合 作 過 不 少 個 案 。 我 建 議 盡 跨 張 之 能 事 , 用 整 張
紙 的 開 度 為 對 頁 , 做 個 特 大 的 冊 子 。 分 折 開 來 , 每 通 頁 又 可 以 是 一 張 海 報 。 四
個 創 作 人 , 包 括 Lilian 本 人 做 封 面 , 其 他 包 括 李 錦 煇 , 楚 喬 及 我 。 每 人 均 分 配
經 營 一 個 主 題 , 我 負 責 的 是 環 廻 再 造 紙 。 我 拍 了 四 個 旋 轉 圓 形 物 , 版 面 上 再 疊
上 一 段 手 寫 的 文 字 。 文 字 的 內 容 要 環 繞 著 環 廻 的 意 念 。 其 實 這 個 是 當 中 最 具 挑
戰 性 的 部 分 。 我 的 一 貫 創 作 方 式 是 把 意 念 , 想 法 , 行 使 等 都 放 在 心 中 醞 釀 及 組
織 , 然 後 在 一 個 適 當 的 瞬 間 , 就 拼 發 展 現 開 來 。 看 起 來 很 即 興 , 但 還 都 要 在 控
制 的 範 圍 內 , 這 個 很 像 寫 中 文 書 法 的 方 式 。 寫 的 是 意 筆 , 但 絕 對 不 是 隨 意 。 我
寫 的 一 段 文 字 , 是 以 鉛 筆 寫 在 一 張 約 2 乘 3 吋 的 紙 上 。 文 字 是 即 時 從 腦 中 寫 出 ,
而 不 是 抄 本 。 因 此 行 文 間 也 保 留 了 思 考 的 過 程 及 起 伏 。 難 度 是 整 篇 文 字 要 在 該
紙 上 寫 完 , 而 且 最 好 是 能 夠 在 末 端 不 留 空 間 , 這 個 是 從 設 計 的 角 度 , 畫 面 上 的
需 要 。 這 張 2 乘 3 吋 的 小 紙 , 在 制 作 時 會 放 大 至 橫 30 吋 許 。 文 字 印 以 金 色 , 疊
蓋 在 照 片 之 上 。 很 可 惜 經 設 計 公 司 制 版 之 後 , 我 沒 有 討 回 這 張 小 原 稿 。 設 計 公
司 替 我 另 印 了 50 張 , 背 面 空 白 。 我 選 了 40 張 , 編 號 及 簽 名 。 這 張 柯 式 印 刷 版
原 作 ,25x31 吋 。

Ship Indicator Panel
(OBJECT: Metal enamel panel. 223mm diameter, 80s)
In May 1981, the day after our wedding, we went to Beijing. Part of the reason was to
assist a client participating in a computer product exhibition there, and part of it was a
honeymoon trip. Later, we went on to Shanghai.
In Shanghai, we visited the Shanghai Museum, which left a lasting impression. Inside
the museum, the lights would automatically turn on wherever you went and switch
off as you moved away. Opposite the museum, there was an enamel factory. Its gate
was ajar, and on one side of the factory yard, a pile of discarded enamel products
lay scattered on the ground. Among them were numerous items used as door signs,
indicator plates, and other signage.
To a designer, these discarded objects were no less fascinating than the exhibits in the
museum. We asked the factory workers if these items were for sale. They shook their
heads and told us to help ourselves—they were merely abandoned scraps. We picked
out a small pile but had to curb our desire for more, as these were metal objects and
quite heavy.
One of the items was a circular ship indicator plate. I’ve used it as a photographic
subject several times. Once, I photographed its black reverse side for a cover of
DISLOCATION ( 女 那 禾 多 ). Another time, it appeared in one of the most recognized
images from my Forty Poems series, Movement Control Panel And The Other
Arguments, 1995. This photograph is now part of the collection at M+ Museum.
輪 船 標 示 版
1981 年 5 月 , 我 們 婚 後 翌 日 便 去 了 北 京 , 一 方 面 是 打 點 一 個 客 戶 在 京 參 加 的 電
腦 產 品 展 覽 。 一 方 面 也 算 是 蜜 月 之 旅 。 之 後 我 們 又 去 了 上 海 。 我 們 去 了 上 海 博
物 館 , 這 個 館 令 人 最 難 忘 , 館 內 你 每 到 一 處 , 燈 光 會 自 動 開 啟 , 你 行 開 後 它 又
會 自 動 關 掉 。 博 物 館 對 面 有 一 個 做 搪 瓷 的 工 厰 , 閘 門 撇 開 , 厰 一 邊 的 地 上 堆 了
不 少 搪 瓷 製 品 的 次 件 。 林 林 總 總 , 有 不 少 是 用 作 門 牌 , 標 板 等 指 示 用 途 。 對 於
一 個 設 計 人 來 說 , 這 些 都 不 亞 於 剛 才 在 館 內 看 到 的 收 藏 物 。 我 們 問 厰 內 的 工 作
人 員 , 此 等 物 件 是 否 可 以 出 售 。 他 們 搖 頭 , 叫 我 們 盡 管 拿 去 便 是 。 棄 置 物 也 。
我 們 檢 了 一 堆 , 但 也 不 能 有 貪 念 , 此 乃 金 屬 物 , 不 輕 也 。 這 個 圓 形 的 , 是 使 用
在 輪 船 上 的 標 示 板 。 我 用 來 當 作 被 攝 物 好 幾 回 。 好 像 有 一 次 用 它 黑 色 的 背 面 拍
照 予 女 那 禾 多 使 用 。 另 一 次 , 最 為 人 知 的 是 「Forty Poems」 系 列 ? 其 中 一 張 照
片 「Movement Control Panel And The Other Arguments, 1995」, 照 片 現 為 M+ 美 術
館 所 藏 。

Duchamp’s Rotative Object
(PHOTOGRAPH: 8x10 inches, 1995)
When it comes to circular objects, my earliest memory—aside from holding one during
a photograph taken around the age of two—is of reading two lines from T. S. Eliot’s
Little Gidding in my youth:
“What we call the beginning is often the end
And to make an end is to make a beginning”
(Four Quartets, p. 42, Faber and Faber, 1946).
These lines inspired me to write a poem about beginnings and endings. Duchamp’s
Roto Reliefs similarly sparked my creativity, leading me to incorporate them into
several photographs. Besides the image featuring recycled paper mentioned earlier,
another photograph from my Forty Poems series bears traces of Duchamp’s rotative
object: Face Structure With Spirals, 1995.
As for the recycled paper photo, there’s an additional anecdote. Around 1976, I used
two of those photos to design a double-sided name card as a gift for Leung Ping-kwan
(Ye Si). One side featured a chopping board, while the other depicted Duchamp’s
rotative object. The chopping board image was a tribute to our collaboration on
Foodscape ( 食 事 地 域 誌 ). I had used the chopping board as a starting point to create a
visual pairing for his poem Onion, titling the photo Portrait of a Chopping Board.
Ping-kwan was delighted by the name cards, but unfortunately, I have no copies left
today. If anyone happens to have preserved one, I hope they can lend it for scanning,
so a record of it may be kept.
杜 象 旋 轉 物
關 於 圓 形 物 , 較 早 的 記 憶 除 了 大 約 兩 歲 拍 照 時 手 握 圓 形 物 之 外 , 年 輕 時 候 讀 到
T.S. Eliot 在 Little Gidding 的 兩 行 : “What we call the beginning is offen the end / And
to make an end is to make a beginning” (Four Quartets, pages 42, Faber and Faber,
1946) 觸 發 我 寫 了 一 首 關 於 開 端 與 結 尾 的 詩 。 杜 象 的 Roto Reliefs 同 樣 也 令 我
用 作 拍 過 好 幾 張 照 片 。 除 了 之 前 談 過 關 於 環 迴 再 造 紙 的 照 片 之 外 , 在 「Forty
Poems」 系 列 中 , 我 的 另 一 張 照 片 也 是 有 著 杜 象 旋 轉 物 的 足 印 : 「Face Structure
With Spirals, 1995」。 關 於 再 造 紙 的 那 張 照 片 , 還 可 以 附 加 一 個 尾 巴 記 , 大 約
1976 年 間 , 我 將 其 中 的 兩 張 照 片 , 設 計 了 一 個 兩 面 看 的 名 片 送 給 也 斯 。 一 面 是
砧 板 , 另 一 面 杜 象 旋 轉 物 。 其 中 砧 板 一 圖 是 記 念 我 與 他 合 作 的 「 食 事 地 域 誌 」
(FOODSCAPE)。 我 以 砧 板 為 起 點 , 發 展 成 為 一 圖 配 合 他 「 洋 蔥 」 一 詩 , 照 片
的 題 目 是 「 砧 板 的 肖 像 」(Portrait of a Chopping Board)。 也 斯 看 著 那 些 名 片 當 然
喜 出 望 外 , 可 惜 我 如 今 手 上 完 全 沒 有 存 本 。 寄 望 誰 個 手 上 若 有 珍 藏 本 , 可 借 用
掃 描 留 個 記 事 。

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

Several ways of not to miss
a single issue of MONDAY
ARTPOST.
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ARTPOST contributors
Cem Turgay lives and works as a photographer in
Turkey.
Fiona Smyth is a painter, illustrator, cartoonist and
instructor in OCAD University's Illustration Program.
For more than three decades, Smyth has made a name
for herself in the local Toronto comic scene as well as
internationally.
http://fiona-smyth.blogspot.com
Gary Michael Dault lives in Canada and is noted for
his art critics and writings. He paints and writes poetry
extensively. In 2022, OCEAN POUNDS published two
of his art notebooks in facsimile editions.
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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Since 2008, INDEXG B&B have served curators, artists,
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