0503-2019

DOUBLE DOUBLE
Writings/ Photographs/ Poetry/ Archives
A Holly Lee and Lee Ka-sing online magazine. Published on Fridays.
李家昇黃楚喬網上雜誌,逢星期五出版

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CURRENT WORK

Sushi Grass in Paradise (A story)

written by Holly Lee
with photographs by Lee Ka-sing

 


(14) A Letter to Vio

The letter came from papers tucked inside a sketch book in the upstairs library. It was addressing to Violet but now landed on the hands of Mrs. Bento, which are slightly rough, and smell faintly of laundry detergent.

Vio my dearest,

There are so many aspects of Joni Mitchell that I can introduce you to I hardly know where to begin. Let's put it this way, in order to aptly understand and appreciate her work, you cannot separate her music from words, like flesh from skin. To me, first she has the gift of a born musician, then writer, singer, and painter. Of course she would disagree. She always considers herself a painter derailed by circumstance. But mind you, I also like her paintings. She has produced a large body of art over the years, most of them figurative, some abstracts and impressionistic, and a lot of landscapes and places. This oil painting of Miles Davis was painted in 1991, shortly after he died. It is categorized under "Neo-Classicism". I think, just like her music, she dislikes her paintings to be classified.

A painter derailed by circumstance. She had to make music as a living. To her I guess, music is more emotional and abstract, her way to unleash sorrow and insecurity. Painting on the other hand, is more rational and palpable, it soothes her wounds, provides a place where she can find beauty and tranquility. We all think her music and writings are superior than her paintings, even though she thinks otherwise. She's genuinely born with music in her blood. But painting is what she consciously pursues, and an art form she doesn't take on aggressively. Distancing herself from the marvelous art world and its fierce competition she can paint with total freedom, and without judgement. The fact is, she doesn't use painting as a creative front. Music is.

In the realm of music, she is that wild thing runs fast, an artist who refuses branding by success. A restless soul keeps searching and evolving…through making music, producing extraordinary composition ahead of her time.

There's a song in one of her albums that creates endless debate and pros and cons. I have read a number of reviews and articles about this particular song 'Paprika Plains'. A handful of good and insightful articles about this work can be found, the rest are just dealing with background information. Instead of repeating what others said, I'll tell you what I think about this piece.

Paprika Plains stands alone as a side-long, 16-minute song on the double album Don Juan's Reckless Daughter produced in 1977. Strangely, like a lot of old fans of Joni's, it never came into my attention until now - until I chew on her music oeuvre repeatedly, one by one.

I have to admit when I listened to Paprika Plains in 1977, my first reaction was: confusing. I didn't and couldn't follow. I paid very little attention to the words, and had very little appreciation of the innovative three-verse structure of the song and music. In fact, I didn't even know it was partly about Joni's reminiscence over her childhood on the Canadian Prairies, and her later arrival in the US popular music scene, befriending other musicians like Miles Davies and Bob Dylan. In short, like deaf and blind I got very little, and saw nothing. But there was a moment I did wonder about the midway development of the song - which transits gradually into the orchestral music section. It was strange and did not fit in any music genre. Back then, like many of her fans I didn't have the patience and time, and worst of all, too lazy to find out the backstory and creative process behind Paprika Plains.

Oh, the phone rings. Let me quit for just a second.

"Sushi Grass in Paradise" is an on-going story. To read the full length version with previous chapters, please visit- https://oceanpounds.com/blogs/sushi-grass-in-paradise

 

CURRENT WORK

Lee Ka-sing
Photographs from "50 Gladstone Avenue 吉石大道50號"
series


April 29, 2019 (tulip 3)


April 29, 2019 (tulip 2)


April 27, 2019 (chandelier)


April 27, 2019 (cactus)


April 27, 2019 (horse)


April 27, 2019 (tulip)


April 22, 2019 (tree)


April 21, 2019 (skin)


April 11, 2019 (shadow)

 

 

VINTAGE WORK

Holly Lee
LomoSampler
040502_090502 (work 2002)
Unique, size 5.5"x2"x2", bound with Chicago Screw
210 pieces of 5.5"x2" c-type photographs
, plus front and back covers
Signed and dated (5.15.02)

I was part of a curated exhibition Docu Lomo in 2002. It happened during the month of May, when the Toronto Photography Festival took place. The Festival continues until today, with the sponsor's name Scotiabank CONTACT Photography Festival.  

The show was curated by Pamila Matharu, sponsored by Lomographic Society International, and about forty artists were invited. Each image maker was given a SuperSampler to shoot for a week. The rubberized camera had four lenses, could shoot four sequential panoramic shots on a single 35 mm photo.

I photographed randomly here and there for a few days, catching bits and pieces of life. After getting hundreds of prints back, I spread them all over the place and started to notice certain colour pattern. Eventually the paint sampler idea sprang up, and LomoSampler was born.  

The exhibition was at Gallery TPW, then located at 80 Spadina. It was the same building where the Toronto Image Works also located. TIW is a commercial printing lab operated by the famous photographer Edward Burtynsky.

 

 

ARTIFACT

DOCU LOMO exhibition invite, 2002
Gallery TPW
, Toronto
4x9 inches, printed on both sides

 

OP EDITIONS


Almond Chu
Antonio's Wardrobe (Accessories), 1992 (#960167)
8"x10", gelatin silver photograph
(printed in 1996)
OP Edition, with "OP editions" blind-stamp
Edition 6/20, signed, dated, numbered on verso
Featured in the OP EDITIONS catalogue, issue 9603 in 1996

OP editions are limited edition photographs from the OP Print Program we organized since 1995. After we moved to Toronto, the Program was still in operation for the first five years. Over hundreds of artists have been included, with photographs released as small format limited editions, in 8”x10” fibre-based black and white or chromogenic colour photographs. We plan to publish here, a selection from the collection on a weekly basis. Some of the photographs from OP EDITIONS are available at OCEAN POUNDS online shop.

 

 

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DOUBLE DOUBLE
Issue 0503-2019

A Holly Lee and Lee Ka-sing online magazine. Published on Fridays.
Published by Ocean and Pounds and archived at oceanpounds.com
All rights Reserved.


Selective items in this publication are available at the OCEAN POUNDS online shop. For items featured in CURRENT WORK, VINTAGE, ARTIFACT, PUBLICATION, OBJECT, BOOKSCAPE and COLLECTION, please send a request to: mail@oceanpounds.com.

If you are a researcher or writer and want to use the material, please write us in advance. Some of the materials might have different level of copyrights involved.

Not to miss a single issue, please subscribe to DOUBLE DOUBLE Release Notification. Visit - http://doubledouble.org

DOUBLE DOUBLE previous issues were archived at -
https://oceanpounds.com/blogs/doubledouble

leekasing.com is a portal website for current and earlier works. Apart from exhibitions, Holly and Ka-sing use extensively web platforms to display photography and writing projects. Contact us for a detail list of links.

Holly and Ka-sing currently live in Toronto with their daughter Iris, and their cat Sukimoto.

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