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ONDAY

RTPOST

025-0113

SSN1918-6991

ONDAYARTPOST.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 /

Lee Ka-sing and Holly Lee Archive 李 家 昇 黃 楚 喬 文 件 庫

SCREENCAPTURE

2025-01-12 Capturing K&H Archive weekly updates across Media

(M) MONDAY ARTPOST published on Mondays. Columns by Artists and Writers. All Right Reserved. Published since 2002.

Edit: Lee Ka-sing and Holly Lee Archive. Design: DOUBLE DOUBLE studio. Publisher: Ocean and Pounds.

Contact: mail@oceanpounds.com Free Subscription: subscribe.mondayartpost.com, ISSN 1918-6991.


ARTPOST contributors

Cem Turgay lives and works as a photographer in

Turkey.

Edwin Kwan a photographer lives in Toronto.

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.

Sushi Grass in Paradise (Facsimile Edition)

By Holly Lee (1953-2024)

8x10 inch, 480 pages, perfect binding. Published by OCEAN POUNDS, 2024

Print-on-demand edition available from BLURB (CAN$80.00)

https://www.blurb.ca/b/12147281-sushi-grass-in-paradise-facsimile-edition



Kai Chan

Greenwood

Drawing

42 x 36 cm, acrylic paint on rice paper



Fiona Smyth

CHEEZ



Gary Michael Dault

Poem a Week

Your Handwriting

your handwriting

its toothed slant

it cuts the paper

where you head it

it rips

like a passer-by

it slices the loaf

of language

it saws through

the paper’s white forest

so that the words

fall like trees

turning to sawdust

before they hit

the ground



Tomio Nitto

Sketchbook



Cem Turgay

ProTesT



The Photograph Selected by

Kamelia Pezeshki

Winter by Kamelia Pezeshki



Shelley Savor

Caffeine Reveries

Icy Patch



Gary Michael Dault

From the Photographs, 2010-2024

Number 61: Stetson



Edwin Kwan



Tamara Chatterjee

Travelling Palm Snapshots

Mexico (November, 2017) – Adventuring in

Oaxaca at the end of October through mid

November was a treat. We lollygagged around

for the festivities to start in the historic Plaza de

la Danza, in between the multitude of symbolic

processions honouring the ancestors. Naturally

we encountered a myriad of costumed catrina’s,

devils, also countless skeletons, but the most

impressive was an impressive congregation of

indigenous tribes from across the Americas.



Lee Ka-sing and Holly Lee Archive 李 家 昇 黃 楚 喬 文 件 庫

SCREENCAPTURE

2025-01-12 Capturing K&H Archive weekly updates across Media

About Thousand Objects

In the autumn of 2024, anothermountainman paid us a visit. His primary purpose was to see

Holly, but he also came to discuss the possibility of organizing a larger-scale exhibition for us in

Hong Kong. One day, as we sat around the six-by-six-foot table brainstorming ideas, the concept

of Thousand Objects () suddenly fl ashed through my mind. I noticed Jessie quickly jotting

Lee Ka-sing and Holly Lee Archive EST. 2024

Edited by: LEE KA-SING AND HOLLY LEE ARCHIVE kasingholly.com kasingholly@gmail.com



DOUBLE DOUBLE: Box-in-a-Valise, 2020

THE 50 GLADSTONE: Lee Ka-sing and Holly Lee Archive, 2024

down my point. In hindsight, this moment could mark the origin of Thousand Objects.

I have always placed emphasis on origins. As one journeys down a path, the ability to recall

the starting point often provides insight into what lies ahead. Although the thought of Thousand

Objects appeared spontaneous, it may have followed a traceable trajectory. In the spring of

2020, we organized an exhibition at our place titled DOUBLE DOUBLE: Box-in-a-Valise. Soon

after, COVID struck, and the exhibition was barely made public. Fast forward to 2024, and the

exhibition THE 50 GLADSTONE: Lee Ka-sing and Holly Lee Archive drew upon the earlier show

as its blueprint. The concept of Thousand Objects clearly evolved from these two exhibitions.

For the DOUBLE DOUBLE exhibition, we intended to produce three books as a record:

• The fi rst book, subtitled on-site, contains a complete photographic documentation of the

exhibition, with each work assigned a number.

• The second book, close-cropped, features direct scans of selected original pieces, offering a

closer approximation of the physical objects.

• The third was envisioned as a text-based publication, providing written details for each item

from the first book according to its number.

The third volume proved the most challenging.

It was never fully completed, and the portions

that were written were displayed only on the

website.

For the second exhibition in spring 2024,

learning from the first, we spent two

months after setting up the display creating

descriptions for the 200 items showcased. This

time, we limited ourselves to media details and

brief contextual notes. The resulting book was

mainly for visitors to use as a cross-reference

during the exhibition, with only a few copies

printed.

We are confident that exhibitions resonate

more with viewers when they can glimpse the

stories behind each item, even briefly. This

storytelling element became the foundation of

the Thousand Objects concept, complementing

the media descriptions for each piece.

In the fi rst exhibition, items were displayed

on walls and tables. In the second, due to the

tables being reserved for other uses, we relied

solely on wall space, excluding items requiring

table displays. These experiences underscored

the importance of aligning the nature of the

objects with the mode of display.

Thousand Objects is envisioned as an

organic concept for exhibitions. Its scale and



content would vary depending on the venue. In a museum, the number of objects could expand

signifi cantly. In a library, the selection might be reduced or presented thematically. Beginning

in 2025, we plan to organize monthly thematic micro-exhibitions in our space, utilizing the glass

display table.

DOUBLE DOUBLE: Box-in-a-Valise,

exhibition catalogue, 2020

Refl ecting on the past two shows, we found that showcase tables are particularly well-suited for

displaying objects. I proposed to anothermountainman a bold idea: in a large exhibition hall, we

could place a single line of display cases extending hundreds of feet, arranged in a straight line

or a zigzag pattern. This would create a strong visual impact. Of course, Thousand Objects is not

intended to replace traditional gallery-style exhibitions. These two formats function differently,

akin to distinct modes of expression.

Thousand Objects might sit somewhere between a retrospective and a memoir. It lacks the breadth

of the former but offers more intimacy than the latter. Alternatively, it could be described as “a

house of retrospective stories.” These objects encompass a wide range: original works, documents,

artifacts, Polaroids, printed materials, tools, and memorabilia. Despite their diversity, their

commonality lies in their ability to evoke stories that reflect our creative life over the past five

decades—hence the importance of accompanying text.

In terms of writing style, I initially approached the text from a third-person perspective. However,

I found that more personal stories required a shift to a more immersive, first-person voice. I began

mixing voices depending on the context.

If I were to start the project today, writing one object a day, it would take three to four years

to complete the thousand objects—and I assume there will be more to include along the way.

However, we don’t need to finish all the stories to organize a show. We can always curate an

exhibition based on what has already been written and the materials on hand. To facilitate better

use by researchers or curators, I devised a serial system for the Thousand Objects project:

• The fi rst four digits represent the serial number of each item.

• The next two characters denote the medium.

• A single digit follows, reserved for internal use.

• Another character indicates the item’s size, categorized into four levels.

• The fi nal character, either K or H, denotes its association with me or Holly.

To conclude, I’d like to respond to a foreign friend’s question about why I chose “Thousand” rather

than “Ten Thousand” (Wen). My answer is: “A thousand” signifies a vast number while remaining

within the realm of the personal. “Ten Thousand Objects” (Wen Wu) suggests the totality of

everything under heaven, which is far beyond my intention.



Diptych (2014-2023) posted several times a week on

Fackbook and Instagram.

Diptych (2014-2023)

As part of the archive project, I need to revisit work from

different periods. One key focus is my diptych work, given

its sheer volume. These works were created in a casual,

spontaneous manner, almost like exercises in capturing fleeting

thoughts. Between 2014 and 2023, I produced over 1,500

photographic diptychs. Some have been compiled into standalone works, such as Hong Kong

Visits and Istanbul Journal. However, a small number of these diptychs may have been lost due to

hardware failures or improper archiving after being published online. I am now in the process of

organizing and compiling these pieces into volumes of monographs.

(below) Ordinary, 2014



(above) Black Rose, 2014

(below) A River Runs Through Mountain Cliffs, 2014

(above) Head Profi le and the Moving Smoke, 2014

(below) Dancer and the Wings in Motion, 2014



(above) A GMD Transformation of a Computer Instruction Manual, 2014

(below) National News, 2014

(above) Mountain Trapped in a Cage, 2014

(below) Boy Leaped Onto a Running Tiger’s Back, 2014



(Leung Ping Kwan and Holly Lee, a Dialogue on

Portraiture)

In May 2012, anothermountainman curated an exhibition titled “To See: To Be Seen” for Fujifilm,

inviting 7 pairs of creatives to explore portraiture and self-portraiture. Holly and I were among one

of the paired groups. I was in Hong Kong for the exhibition opening and met Leung Ping Kwan (Ye

Si) during the event. The idea for a dialogue on portraiture between him and Holly emerged during

our conversation. The dialogue began around the end of May or early June, in the form of email

exchanges, with Holly writing the initial piece. Once the conversation was underway, I suggested to

Ye Si that we compile it on a single page so we could continue writing back and forth, rather than

leaving it scattered across email threads. Ye Si organized and expanded the first section to provide

context. Before the additions, the initial entry was shorter and written in English. The rest of the

dialogue is in Chinese. I have retained the email timestamps for reference.

Lau Kin Wai photographing Leung Ping Kwan reading a fl ip book by Holly, a work of her self-portrait titled

‘Holly Reading a Poem by Leung Ping Kwan.’



Holly Lee: Flip Book Project (2012) Portrait of Lee

Ka-sing by Holly Lee and her Self-portrait.



Photograph and poem by Leung Ping Kwan, OP

Edition



Night Reading posted several times a week on Facebook.

Browse more of this series at: reads.doubledouble.org/2024/11/night-reading.html

About 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.

For the fi rst 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 fi nd myself adrift, overwhelmed by a

profound sense of loss.



TERRAIN, volume twelve. (Photographs by Lee Ka-sing, haiku by Gary Michael Dault in response).

A daily collaborative column published at the front page of oceanpounds.com

kasingholly.com



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