MONDAY ARTPOST 2024-0610

MONDAY
ARTPOST
2024-0610
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 + Works by J. Lynn Campbell
/ If Sculpture Could Talk (Bill Grigsby, Holly Lee)
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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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.

The Lee Ka-sing and Holly Lee Archive ( 李 家 昇 黃 楚 喬 文 件 庫 ) was officially
inaugurated in April 2024. It is a permanent establishment located at 50
Gladstone Avenue in Toronto.
The Archive includes both artists’ current and past works, encompassing
photography, writings, and publications, along with related documents,
objects, artifacts, and other primary source materials related to the
photography scene in Hong Kong during the 90s.
Since the late 70s, Ka-sing and Holly have been deeply involved in
the development of contemporary photography in Hong Kong. They
contributed to the field through publishing DISLOCATION, the OP Print
program on photo collection, and founding the NuNaHeDuo Centre of
Photography. In 1997, the Lee family relocated to Toronto, Canada,
where they continued their art-related projects, including gallery ventures
and publishing. Today, Ka-sing and Holly remain active in creating works,
from photo-based series to creative writings. Their photography is part
of the collections at institutions like the Tokyo Metropolitan Museum of
Photography, M+ Museum, Hong Kong Heritage Museum, and Hong Kong
University of Science and Technology.
In 2019, they began focusing on archiving their works and activities from
the past five decades, with books, writings, documentation, and exhibitions.
In Spring 2024, they officially inaugurated the Lee Ka-sing and Holly Lee
Archive ( 李 家 昇 黃 楚 喬 文 件 庫 ) with a permanent archive and exhibition
space in downtown Toronto. The Archive is currently managed by Lee Kasing,
Holly Lee, and Iris Lee.
The Archive will continue to evolve through regular exhibitions, publishing,
and other activities, and will collaborate with writers, curators, researchers,
libraries, and institutions on related projects. For inquiries, please contact:
mail@leekasing.com.
THE 50 GLADSTONE 吉 石 大 道 50 號
A salon space for exhibitions and showcases
of items from the Archive. Visits by
appointment.
DOUBLE DOUBLE 李 家 昇 黃 楚 喬 博 物 誌
DOUBLE DOUBLE is a publishing project
focused on archiving the current and past
works of Ka-sing and Holly, as well as
their art-related projects. Initially released
as a weekly online zine from 2019 to
2021, it comprised 158 issues. In 2020, it
transitioned to monthly print-on-demand and
online flipbook formats. In 2024, DOUBLE
DOUBLE will continue to be published in
book form and will also include the Chinese
name 李 家 昇 黃 楚 喬 博 物 誌 .
K&H Archive Collections
This special edition includes modern prints
of major and lesser-seen works by Ka-sing
and Holly. Released in both 8x10 and 17x22
inch formats, these are open editions in
archival inkjet prints. Each print is stamped
and comes with a certificate of authenticity.
Prints will be signed by the artist if available.
This long-term print project supports the
maintenance and management of the Archive.
Your support is important.
https://kha.edition.leekasing.com

Leaving Taichung
Station
Bob Black
his thin curve of land
“this life is a fist
of fast wishes caught by nothing
but the fishhook of tomorrow’s tug”—Ada Limon
it’s like this
at 23 everything tugs at the infinite
possible even along the tips of black leaves
that fall through the rear-view window
a father sifts through a screen door
the world worried and cloaked in neon
the slabs of light squirreling beneath a stone of shadow, hawk-eyed
romance dialed in, meaning served up in a gimlet glass
shot after shot after shot
everything but death
lives between the jukebox glass and the record’s sway, my love
the music and the wobble of your life
beat sings in a slab of light picking out a stone in the dark
eyes rhyme the world with a new species of grass
Spodiopogon formosanus
a narrow pendulous grey-green leave topped with airy pink inflorescences
in a good year we learn to live ahead of the dying
stories in our bodies, language made up on the spot
a key in a lock drags the night light through
what spills get left on the tiled floor once made up in the backroom scribble
love licked up long along the borders where we fell apart
and everything became one in the juggle, my love
papers torn, memories undressed and we awakened
ambidextrous
in the morning along this thin curve of land, both your hip and the island’s
a world of centripetal tropic arrests the morning and its departure
sings stiff-up words that neither bemoan nor bamboo the loss in the cage
ringing in the air nets of construction, chevrons of cloud and clock and birds, fit
you ghost, so it is like this
say it in our names

Caffeine Reveries
Shelley Savor
Floating

If Sculpture Could Talk:
a collaborative work
between Bill Grigsby,
Holly Lee and Lee Kasing
in a series of nine
sculptural work.
Eight: Constant Contradiction
Sculpture: Bill Grigsby
Photography: Lee Ka-sing
Poem: Holly Lee
Constant Contradiction
Cast steel & wood, 2021
Sculpture: Bill Grigsby, Photography: Lee Ka-sing

A woodblock for printing
画 像 磚 ,
Picture Image Brick
Two Objects
Gadgets
once practicality
now creativity
a padlock
to guide a secret door
On top of the structure
a horseshoe magnet, N & S
opposing forces
two contenders
maneuvering
如 來 神 掌
the Buddha’s Palm
Brick and stone reliefs
stone rubbings
woodcut printings
hand-pressed to surfaces
primitive ways, primitive days
Mountains of gadgets
tossed away
hauled away
resting in landfill
rain, shine
sunset, sunrise
Little we can do
but wonderful to see
some pieces were recycled, assembled
into objects of imagination,
our vanished cultural legacy
Two squares,
numbers 5 and 10
a perfect ratio
an octave
a music miracle
Infinity,
a wrestling
universal force
constant in flux
in time, space
“Hua Xiang Zhuan” ( 畫 像 磚 ), carved wood block
105 x 50 x 10 mm, wood, ink.
Ka-sing created this in mid seventies, intended to use as the logo for our publishing venture in planning.

TERRAIN, nine. (Photographs by Lee Ka-sing, haiku by Gary Michael Dault
in response). Read this daily collaborative column at oceanpounds.com
UnRest
dreams released from a felled tree:
a dinosaur’s fallen head
teeth still alive

林 海 (L.H.) is a love story. It is also a love
story about photography. The initial sixteen
fragments have recently been compiled into
a book for the occasion of the exhibition
“THE 50 GLADSTONE.”
You can access a complimentary version
online via this link:
reads.oceanpounds.com/2024/04/lh.html
For those interested, a collector’s edition
of this book, in hardcover, is available on
BLURB:
blurb.ca/b/11978672
The archive of 林 海 (L.H.) in text file format
can be found at:
LH.leekasing.com
A Fictional Work by Lee Ka-sing

Poem a Week
Gary Michael Dault
the gulls around here
do not smell of salt
spray
they wheel and prey upon
remnant french fries
from a food truck
stationed forever
in a parking lot
the only salt they know
is from salt shakers
and the tingle
of dried ketchup
Seagulls in Translation
there is no sea
near here
just a splinter river
and yet whenever
I need a bigness
under my hands
I turn to the sea
all papered
in imagination’s wave
so it might engulf me
from where it lies
half a world of water
away
yet the gulls arc and circle
as if the sea were just
on the other side
of the highway
and I can get to the sea
by staring hard
at a fat white gull’s weave
over my head
and enter the sea
through dizzying
gull portals

the birds’ calligraphy
binds me
in its long-ago
geometries
and I am one
if I want it
with bobbing grinding
boats
in the grey Halifax harbour
or the huge lifting swell
under the ferry
taking me out to Newfoundland
and I can see my new sea-heart
mirrored in the purple-green
oilslick on the water
and breathe
the wave rush
at the prow
the sharp farewell
churning of water
at the stern
the seagulls wheel with me
and how do I know
they are not
my chip-wagon seagulls?
of course they are not
but I want them to be
(we escape together)
and so they are

Sketchbook
Tomio Nitto

CHEEZ
Fiona Smyth

Travelling Palm
Snapshots
Tamara Chatterjee
France (June, 2024) - We arrived at Le
Foundation Louis Vuitton excited to see
Matisse: L’Atelier rouge. Despite the themed
exhibition the highlight for me was the
Gehry architecture, a striking contrast to the
panoramic Parisian views from the upper
terraces.

Gary Michael Dault
From the Photographs,
2010-2024
Number 34: Sex Toy / Marital Aid (Three Views)

Drawing
35 x 35 cm, acrylic paint on rice paper

My practice has evolved from drawing, painting, and collage to mixed-media
sculpture and site-specific installation. This transition allowed me to create
more tactile surfaces and structures with added significance. Recently, I
have incorporated printmaking, photography, and digital imagery into my
work. Much of my art emphasizes the working process, using materials and
methods that highlight the tactile nature of the image and subject matter.
J. Lynn Campbell
Through symbolic references and metaphor, my work explores both internal,
subjective spaces and the external environment—examining who we are
and how we exist in the world. During the creative process, I consciously
select elements for a specific purpose, but there is always more beneath the
surface. The act of making by hand and touching is an act of intimacy. The
combination of chosen elements and the process provides a starting point for
deeper understanding.
For me, the art-making process is meditative and fosters empathy. The
interaction between the body/viewer and the work as a medium of perception
and sensation is the bridge that connects personal experience to the realm of
imagination.
J. Lynn Campbell © June 2024

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