Time Machine Trailer
From 2015 to 2019, Lee Ka-sing worked extensively on the Time Machine series - an accumulated body of work consisting hundreds of black and white photographs, mostly of a single object or a scene. At one point during this project Lee Ka-sing approached Gary Michael Dault, a Canadian writer and artist, to write haiku on the Time Machine photographs and the two artists interacted admirably. The book Time Machine is the first publication which highlighted and focused on the collaboration. Exquisitely designed and produced, Time Machine displays eighty black and white photographs; each adorned with a ruminative haiku at the opposite page. Together, image and poem resonate at different frequencies with each other, provoking an electrifying layer of reading experience. The stunning photographs in the Time Machine, paring with perspicacious words by Gary Michael Dault is a wonderful creation, a one-of-a-kind publication; a rare gem to behold and add to one's library.
From 2015 to 2019, Lee Ka-sing worked extensively on the Time Machine series - an accumulated body of work consisting hundreds of black and white photographs, mostly of a single object or a scene. At one point during this project Lee Ka-sing approached Gary Michael Dault, a Canadian writer and artist, to write haiku on the Time Machine photographs and the two artists interacted admirably. The book Time Machine is the first publication which highlighted and focused on the collaboration.
Exquisitely designed and produced, Time Machine displays eighty black and white photographs; each adorned with a ruminative haiku at the opposite page. Together, image and poem resonate at different frequencies with each other, provoking an electrifying layer of reading experience. The stunning photographs in the Time Machine, paring with perspicacious words by Gary Michael Dault is a wonderful creation, a one-of-a-kind publication; a rare gem to behold and add to one's library.
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<strong>Time</strong> <strong>Machine</strong>
Calligraphy by Nobuyoshi Araki<br />
Lee Ka-sing
<strong>Time</strong> <strong>Machine</strong><br />
Lee Ka-sing<br />
with haiku by Gary Michael Dault<br />
First edition<br />
December, 2021<br />
Library and Archives Canada Cataloguing in Publication<br />
Photography, Poetry<br />
ISBN: 978-1-989845-20-2<br />
Design by DOUBLE DOUBLE studio<br />
Copyright © Lee Ka-sing, Gary Michael Dault 2021<br />
All Rights Reserved<br />
Lee Ka-sing’s official website:<br />
www.leekasing.com<br />
For information about permission to reproduce<br />
material from this book<br />
write to mail@oceanpounds.com<br />
<strong>Time</strong> <strong>Machine</strong><br />
Unique photograph or editions<br />
please contact:<br />
mail@leekasing.com<br />
Published by OCEAN POUNDS<br />
50 Gladstone Avenue, Toronto,<br />
Ontario, Canada M6J 3K6<br />
www.oceanpounds.com
The earliest piece in TIME MACHINE was made in 2015, whereas most<br />
photographs included in this book were created between 2017 to 2019.<br />
The original idea was a series of visual studies on objects, photographed with<br />
a lens I seldom used, in a minimal way and with least sentimental elements<br />
added to it. All I used was existing light. The photograph was completed in<br />
a seven and a half inch square, surface mounted on spruce stained in black,<br />
with a thickness of one and half inch. An acrylic gel medium was applied as<br />
an adhesive agent as well as protection for the surface. The photograph thus<br />
became a piece of object. In the larger context I regrouped them organically,<br />
and used these individual pieces as vocabularies, or phrases to form a piece<br />
of narrative. A selection of photographs were included in the Hong Kong and<br />
Toronto exhibitions. I have also collaborated with Gary Michael Dault on some<br />
of the work from this series, in which he wrote haiku after the photograph. It<br />
has provided a new reading, or another layer to the work. (Lee Ka-sing)<br />
(entrance), 2018. 7.5x7.5x1.5 inch. Mixed media, archival pigment print, spruce, acrylic medium
Eighty photographs from<br />
TIME MACHINE series
with haiku by<br />
Gary Michael Dault
Radar<br />
the all-seeing weave<br />
plaited by the fingers<br />
of floodgate war<br />
(radar), 2017
The Little Bang<br />
the mad light<br />
goes everywhere<br />
for a moment<br />
(surprise), 2017
Together<br />
cold swarms<br />
grow urgent in warmth<br />
pushing chaos into comfort<br />
(together), 2021
Question<br />
questions have eyes<br />
that stare<br />
from skeins of asking<br />
(question), 2017
Constellation<br />
Like a football<br />
helmet in space<br />
writhing with perforation<br />
(constellation), 2017
Milk Route<br />
ellipses of milk<br />
drunk in a dance<br />
breasts slacken<br />
(ripple), 2017
Eels<br />
rosaries of difference<br />
slip through our universe<br />
like eels in buckets of space<br />
(skin), 2017
Sunny Window<br />
a naval mine<br />
in a sunny window<br />
the war continues<br />
(fairy tale), 2017
Fly<br />
bat boy<br />
Icarus soon over<br />
the sea-room<br />
(fly), 2015
The TIME MACHINE series in an exhibition at Lumenvisum<br />
gallery in Hong Kong, 2019. Fifty photographs, each mounted<br />
on spruce wood measuring 7.5 inch square, displaying in one<br />
horizontal line encircling four sides of the white walls.
Lee Ka-sing 李 家 昇<br />
A photo-based artist grew up in Hong Kong and resides in Toronto, Canada since 1997. He was the<br />
co-founder of DISLOCATION (1992, with Lau Ching-ping and Holly Lee). In 1995, Ka-sing and Holly<br />
founded OP Print Program, covering a cross-section, with original prints produced by Hong Kong<br />
contemporary photographers in the nineties. Lee Ka-sing was awarded “Artist of the Year” (1989) by<br />
Hong Kong Artists’ Guild, and the Fellowship for Artistic Development (1999) presented by Hong Kong<br />
Arts Development Council. Selected monographs include Thirty-one Photographs (1993, Photo Art),<br />
Forty Poems, photographs 1995-98 (1998, Ocean & Pounds, Hong Kong Arts Development Council<br />
Publication Grant), The Language of Fruits and Vegetables (2004, Hong Kong Heritage Museum),<br />
De ci de là des choses (2006, Editions You-Feng).<br />
An exhibition at GALLERY 50 in Toronto. Photographs from the<br />
TIME MACHINE series were displayed in five vertical narrow<br />
cases, measuring 1810mm x 220mm x 67mm each. Each wood<br />
case contains nine chambers, housing one single photograph<br />
each (172mm x 172mm x 36mm). I titled this body of work<br />
“Five Poems” (2018).<br />
In Summer 2019, Sotheby’s gallery Hong Kong presented “Vision of Hong Kong from Two Generations:<br />
Yau Leung and Lee Ka-sing”. The exhibition included two series of Lee Ka-sing’s creative work on Hong<br />
Kong - diptychs (2016-17) and vintage silver photographs (1996-97). Lee Ka-sing’s work is in private and<br />
public collections, and in museums such as Tokyo Metropolitan Museum of Photography, M+ Museum<br />
and Hong Kong Heritage Museum.<br />
Gary Mihael Dault<br />
Having spent most of his professional life in Toronto, as a painter, university teacher and art critic (his<br />
visual arts column, Gallery-Going, ran in The Globe & Mail for fourteen years, a sojourn he now regards<br />
as essentially purgatorial), Gary Michael Dault lives with his wife, artist Malgorzata Wolak Dault and<br />
their seven cats, in a greatly cherished Victorian house (called Swan House because of the stainedglass<br />
swans bedecking it) in the town of Napanee in Eastern Ontario. Dault is the author of numerous<br />
magazine articles and gallery catalogues, as well as a dozen books about the visual arts. He has published<br />
ten volumes of poetry, and has written three television documentaries, all for the late Sir Peter Ustinov<br />
(the most ambitious of which was a 6-hour miniseries titled Peter Ustinov: Inside the Vatican). Dault has<br />
exhibited his own paintings many times, most recently at Verb Gallery in Kingston, Ontario. He has been<br />
contributing regularly to the online Monday ARTPOST for over a decade.
View a full version<br />
(180 pages) of this<br />
publication ($1) at<br />
Reading Room -<br />
https://oceanpounds.com/blogs/rr/tm<br />
a paperback edition of<br />
this publication is also<br />
available ($75)
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