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A Holly Lee and Lee Ka-sing online magazine. Published on Fridays.



Sushi Grass in Paradise (A story)

written by Holly Lee
with photographs by Lee Ka-sing

(19) The Pockmarked Wife

A panoramic lake and city view. George and Wandy's apartment overlooks east, sweeping a wide, nearly 270 degrees to the south-west of Lake Ontario, which guarantees spectacular scenes of sunrise and sunset. They know what they've got - a million dollar view. But somehow, they still feel overwhelmed by the generous supply of natural light - banks of windows that practically embracing the flat from ceiling to floor, like a solarium not to exaggerate. The light is very welcoming in the Winter months, it's much weaker and the day is short. In the Summer, when the couple returns from hot and humid Hong Kong to dryer and cooler Toronto, their sleep is often disturbed in early morning hours, streaks of strong lights seeping in from small openings and hairline cracks through the blackout curtains. Regardless of this bit of 'discomfort', their friends always admire the light-filled condo and the openness of the view from a high point. This evening Mr. and Mrs. Bento are dinning with George and Wandy in their flat, sharing wonderful home-prepared food, getting dazzled in this magic hour by the gorgeously painted sky.  

"Hmm this is so delicious George, smells wonderful and tastes so yummy. Did you spend the whole afternoon making it?" Mrs. Bento raves about the lotus root pancake George made for their supper. George is a vegetarian. Both Bentos love vegetarian food and for tonight Mrs. Bento brought over aloo gobi - an Indian veggie dish made with potatoes, cauliflower and Indian spices. She knows this is one of George's favourites. Wandy loves Chinese food and she has made mapo tofu. She always gets freshly made tofu from Korean town because it has better texture and taste.

"This tofu is fabulous!" exclaimed Mr. Bento. Mrs. Bento nods with her mouth full, analyzing the different layers of favours, the pungent, sharp and fiery gravy sunk deep into chunks of white, soft and silken, jello-like tofu. Next comes numbness in her tongue.

"How did you make this Mapo tofu? Did some expert share with you the secret to cook?" Mr. Bento asks Wandy as she walks over to the open kitchen fetching more steamed rice.

"My teacher is not a chef, he's YouTube." Wandy replies smilingly.

Mapo Tofu is a traditional Sichuan Cuisine Dish, named after the pockmarked (ma) wife (po) who supposedly invented it at her husband's restaurant. The main ingredient is bean curd. But it is the spicy sauce that sets it apart from any other way of cooking this seemingly plain and tasteless food. The fiery sauce is made of douban (fermented broad bean and chili paste) and douchi (fermented black beans). To add texture Wandy substituted the minced pork with mock meat - a form of wheat gluten. While the soft white cubes tangoing with the oily red suspension in the wok, she kicked in the final ingredients - sprinkling handfuls of freshly cracked Sichuan peppercorn and diced green scallions - Bam bam bam!

"I love the stir-fry baby bok choy, fresh and in season. The diced garlic adds so much aroma and taste Wandy" George said.

"Oh yes, I'm using only organic ginger and garlic now. It was hard to find them before but now they are everywhere. You have to know what organic really looks like to avoid buying something that's not. It's funny when you think of it - natural grown food becoming special grown food."

"And we're not far from eating computer printed food!" said Mr. Bento, "At the moment manufacturers are still using edible ingredients. For tomorrow, when technology comes up with even cheaper sources and easier methods of preparing, most food ingredients may be just synthetic, and the meat - probably lab-grown."

"Well I can't imagine the food we have to eat in the future, I mean if we run out of the types of food we are eating now. I heard that people have been preparing to survive on insects and worms, and burbling about their nutrition and protein." A shiver runs down Mrs. Bento's spine as she speaks. Blame it on her imaginative association with flying cockroaches, which are not uncommon in Hong Kong.

"Ah well, let's enjoy the wonderful food we have for now. After dinner I'll brew some vintage pu-erh tea, then more on the members of the photo museum. I imagine you already have some candidates in mind Bento?" asks George as he casually picks up some potatoes from the aloo gobi.

"Vintage pu-erh! These days could fetch up to thousands of dollars! This is a crazy world, crazy standards crazy value. By the way, would you agree to shorten the name photo museum to PMuseum? Hmm maybe not, it sounds too much like pee museum, which might well be, another museum. What about Pho Museum? No no no, not noodle museum! But photo museum is so generic. Light Museum? Photon Museum? Look Museum? Unfortunately all these names seem to refer to something else." Mr. Bento's voice tones down a notch as he ponders the question.


"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



Lee Ka-sing
Selection from DUET series (work year 2019)
Photographs from DUET series are available in BIBLIOTHEKA Prints - 6.25x13 inches, with BIBLIOTHEKA blind-stamp, signed on verso.

Citylogue 1

Citylogue 2

Citylogue 3

Citylogue 4



My Image of Hong Kong
Holly Lee

Mirror Mirror East meets West. Her name Carol Gordon, Flash Gordon. Got married the year before, I met Jenny Lewis, wore her violet fly butterflies fly cheongsam in my wedding. Gordon, hair by Dean Morris, boom boom Afro hairstyle, slithering silky white worms. An Australian, or Englishman, he' the one, yes, the one first introduced us electronic mail. Was that your image, Hong Kong? Boldness and awkwardness, confident yet hesitant. Hey year, was that what you really look like? Hey 1982, was that your image, or mine?

This was the image I submitted to the exhibition My Image of Hong Kong, Poster Invitational 1982. It was organized and exhibited in the Hong Kong Arts Centre.


5"x8" c-type print.
Photographed with a SINAR 5x7 view camera.




Alfred Ko
Shamshuipo, Hong Kong (#95P0123)
8"x10", gelatin silver photograph
(printed in 1995)
OP Edition, with "OP editions" blind-stamp
Edition 13/20, signed, numbered on front
Featured in the OP EDITIONS catalogue, issue 9503 in 1995

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.



 Sotheby’s Gallery approached me for the possibility of showing my collection of Yau Leung’s vintage photographs, for that reason, that leaded to the realization of the exhibition “VISION OF HONG KONG FROM TWO GENERATIONS, Yau Leung / Lee Ka Sing”, that held in Hong Kong, 6th to 25th in June, 2019.

Sotheby’s published a 108 pages catalogue, that covers all exhibits, include 52 photographs of Yau Leung. 32 photographs from me as well as the large format artist book “HONG KONG, TWO VISITS. 2016, 2017”.

Contributing to the catalogue, I wrote an article, in Chinese, about our friendship, and the background of helping Yau to organize the folio of his limited edition photographs.

Yau Leung / Lee Ka Sing

Exhibition catalogue published by Sotheby's (2019)
8.5x8.5 inches, 108 pages
Exhibition at SOTHEBY'S S|2 Gallery
6-25, June 2019, Hong Kong




1995年間,我們開始了OP,一項以限量照片為媒體的計劃,主要是梳理同代人的攝影作品。所謂OP,即英文Original Photograph的縮寫,原作照片也。我們挑選攝影師,並挑選其作品,所挑選通常都是對是個原作者有一定代表性。也即是説包含著策展的性質。發行的照片都是八乘十吋,所有黑白照片均採用纖維紙基銀鹽相紙。限量20版,有编號及原作者簽名。幾年間發行了近百個攝影師的作品,香港當代攝影在九十年代的發展,宛如在這批八乘十吋照片中保留了一面縮影。九十年代,並不如現在,具存著一個照片市場,當時主要是本著興趣及熱誠,以及個人有限資源作為開發基礎。是項計劃獲得了良好反應。




2017年有團體辦了一個關於香港過往輝煌事物的展覽(VERY HONG KONG),大會邀請我作為攝影一項的顧問。其中關於近年對攝影貢獻的一欄,我建議一是出版教育書的劉先生,他斥資出版了一系列精緻的香港攝影師作品冊;此外,我也建議了邱良。大會接納了我關於這二人的建議,可惜只是展出了我借出的邱良原作照片而完全忽略了他的建樹。





照片的價值,與其他的藝術品一樣,往往自從它本身成為完成物之後,隨著原作者本身的發展,歷史的因素,甚至社會的遷異而産生變化。一張在五十年代在紐約只值二十五元的照片,在今天來說,在市場上它的時值可能是萬倍之巨。1954年,Robert Frank的照片在紐約第一個攝影藝廊LIMELIGHT展出時的價位。也許這是一個較極端的例子;也有些照片,保持著它原來的功能,依然附在物主的家庭照片冊內,提供它的後人不斷產生綿綿懷愐。我也見過一些照片,原是原作者的創作物,一度叱咤,後來卻流落街頭雜貨攤子乏人問津。






Issue 0614-2019

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.

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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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