Published on Mondays, with columns by Artists and Writers
Published since 2002, an Ocean and Pounds publication
Click here to subscribe

Poem a Week
by Gary Michael Dault


a gull of snow
many warm smokestacks
blanketing boys
in striped toques
a crow as big as a cat
ate my breakfast
ice cracked in the harbour
so that water flowers
struggled through
snow as wide and far
as the jungles
higher than volcanoes
came tapping
at my bedroom
I joined this new white sleep
blocking the blooming
of the slow geranium sun

by Kai Chan

"A Happy Face - Looking at Myself at the End of 2020 #6" 2020, ink on paper, 28 x 22 cm

View archive

From the Notebooks (2010-2021)
by Gary Michael Dault

From the Notebooks, 2010-2021.
Number 71: Dark Forest Still Life (February 3, 2021)

View archive


View Current Issue

Night Owl Sonata (in one movement) by Holly Lee / (P-P-P, a picture novel) Polaroid-Postcard-Photograph, from the archive of Lee Ka-sing and Holly Lee


Leaving Taichung Station
by Bob Black

The Raindrop in her Ear

Sea secrets in his eyes. A silver raindrop in her ear.
A braid socking each other's toes. And then the food we fingered over each other:
grass, light lanterned, and
the flight round your mouth: recall
the world stretching and
our stitching


View archive

Caffeine Reveries
by Shelley Savor


View archive

by Cem Turgay

by Madeleine Slavick 思樂維

Rock Circus (2020)

Travelling Palm Snapshots
by Tamara Chatterjee

India (December, 2016) – Despite the ongoing construction at Do Drul Chorten; our observation transported us to blissful repose, to heightened admiration and appreciation. What amused me more than watching the circus acts involved in climbing the makeshift bamboo scaffolding, were the shadow puppets being cast on the upper elevation from the craftsmen and their tools.

View archive

by Fiona Smyth

View archive


Some Trees
by Malgorzata Wolak Dault

Number 60

Yesterday evening
I returned with the clouds
drifting under the rosebushes
(great, round tenderness)
among the faithful tree trunks.

The solitude was eternal
and the silence never-ending.
I stood still like a tree
and listened to trees talking.

From "Men Trees" in Three Hundred Poems, 1903-1953, by Juan Ramon Jimenez (Austin:
University of Texas Press, n.d.), p. 201

View archive


The Photograph
coordinated by Kamelia Pezeshki

Self Portrait Series no.40 by Kamelia Pezeshki

View archive

OCEAN POUNDS online exhibition
Vintage photographs by Yau Leung



(exhibition runs through 20 February, 2021)

Yau Leung (1941-1997) is a highly regarded photographer in Hong Kong. Born in the war years, the city has always been the heart and core of his photography. His work does not belong to the avant-garde nor pictorial genre, he inherited a working style mixed with American Modernism, and to a great extent inspired by the idea of Henri Cartier-Bresson's "fixing eternity in an instant". He had been scouting often around streets big or small, capturing decisive moments and hence coined by people the "Bresson of Hong Kong". For more than forty years, he amassed an immense album of lives and activities of the ordinary people, the fast-changing faces, and vigorous movements in this increasingly cosmopolitain city, forming an integral part of visual memories of Hong Kong from the sixties to nineties.

There was an article on Yau Leung written by Liam Fitzpatrick in the September issue of Time Magazine, not only mourning his untimely death at such pivotal moment when Hong Kong was just returned to China, but troubled by the regrettable fact that the passing of one of Hong Kong's greatest photographers was not properly acknowledged and commemorated by the general public. In the late nineties, Yau had just started to gain some reputation as an artist and in some respect, the return of Hong Kong to China played an important part, raising the importance of his work in the Hong Kong photo history. And within a few years before 1997, there was a high demand for his photographs in the market. The quality and contents Yau's photographs possess without doubt attracted many collectors, either for investment or sentimental reasons, but it was also true for those who were uncertain about the future of Hong Kong, who were preparing to leave the colony and grabbing the chance to own a piece of Hong Kong history before the handover, in other words, preserving a piece of memory of the city's golden era.

Successful sales of his photo works motivated Yau to adopt a new working space. Always working alone, Yau died accidentally in 1997 from injuries sustained in a fall in his lab. His sudden death resulted in fewer of his photographs appearing on the market, since most of his silver prints were made according to orders.

Presently, Yau Leung's photographs at OCEAN POUNDS are mainly selected from Lee Ka-sing's collection. Being good friends, with photography as a shared passion, Lee worked closely with Yau for the publishing of Yau's two early monographs “Images of Hong Kong” and “Growing up in Hong Kong”. Lee had also written a column for PHOTO ART, the magazine which Yau published in the 80s. As Lee recalls they met up for lunch almost once every week. In 1995 when Ka-sing and Holly initiated the OP Editions project to promote collecting photography in Hong Kong, two of Yau’s work, the “Two Women” and “Gloucester Road” were included in that year. Decades after these images have become the most recognized and iconic photographs from Yau Leung's oeuvre. With success of the OP Print Program, Lee started to represent Yau, procedurally setting up a cross section of Yau's work in limited editions, with a good amount of photographs sold.

Yau Leung, before his unexpected death, was quite active and had appeared in solos and group exhibitions in Hong Kong. In 1997, Lee Ka-sing also organized Yau Leung’s work in an exhibition at The Photographers' Gallery in London and the Chinese Cultural Centre in Vancouver. Twenty two years later, in June 2019, Sotheby’s Gallery in Hong Kong presented the exhibition “Vision of Hong Kong from Two Generations: Yau Leung and Lee Ka-sing”. The photographs of Yau Leung were drawn from the Lee Ka-sing Collection. As the exhibition title indicated, two visions of Hong Kong in two generations, it has also reflected the friendship between these two photographers, their common contributions to the Hong Kong photography scene, and unequivocally, their undying love of the city's culture. Beside numerous private collections, Yau Leung’s photographs are now in the collection of Tate Britain Museum, M+ Museum and Hong Kong Heritage Museum.



10% OFF for online exhibits
Valid only for ORDERS for exhibits at the OCEANPOUNDS online exhibition, “YESTERDAY HONG KONG”. Offer valid through February 20, 2021 (11:59 p.m. eastern time).

OCEANPOUNDS online exhibition updated every 14 days. Special offer is available for exhibits during the show. Click here to subscribe Notifications.



Located on the second floor of an art space, INDEXG Bed and Breakfast has 4 guest rooms, all with ensuite bathroom. Since 2008, INDEXG B&B have served curators, artists, art-admirers, collectors and professionals from different cities visiting and working in Toronto.

50 Gladstone Ave, Toronto

ISSN 1918-6991
Published on Mondays, with columns by Artists and Writers
Published since 2002, an Ocean and Pounds publication


Click here to Subscribe


Back to blog