Almond Chu (from OP Print Program)
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
by Fiona Smyth
• Date: (Saturday) June 22, 2019
• Time: 2 to 5 pm
• Venue: RSVP_50_GLADSTONE_AVENUE (Toronto)
For your reference
ON TABLE refers to a Private Viewing event with exhibits displayed on a table platform. ON WALL refers to exhibits on wall, ON SHELF refers to inventories at the OCEAN POUNDS online shop.
Writings by Gary Michael Dault
based on Lee Ka-sing's photographs
from LIGHT READINGS series
an attic like a hat with a feather
two decisions keep it suspended
the idea of staying away from it
so that it stores up bricks of sun
the idea of bothering it with reveries
their trivial softness
so that the attic, made hot as a balloon,
lifts from the house on a cloud
(from a collection of poems called Handyman)
by Cem Turgay
I wanted to push to see death by listening Bach during taking picture. Sometimes there is one side that you cannot hold on to the feeling of a photo, I am mostly on that side. I photo with my feeling but I cannot tell or translate it into words, that is why I am photographer, not a writer or novelist. Sometimes I wonder why people keep asking me the meaning of my works. It is a vision on the screen or on paper, I can only describe people the meaning of my work if they are blind. Can you ask why it rains, snows or sunshine? No! I produce photo just simply it happens. I don’t bother people’s feelings for my work, just feel whatever you like to feel, I can only give you the title of my work, and the rest is yours and I respect it. I might not have enough words or sentences to tell my feelings in English, Turkish or even Chinese, this is something between me and my brain.
Travelling Palm Snapshots
by Tamara Chatterjee
India (December, 2016) – In Rajasthan, somewhere between Jaipur and Abhaneri we stopped in for lunch at a small rural family compound. We ate a traditional lunch, while a gaggle of children milled about; some doing chores, some too young to do anything but giggle. I wandered about, even trying my hand at spinning fodder for the herd of buffalos, turns out the children made it look rather easy.
by Gary Michael Dault
No, 214. The Kiss.
It took him three weeks to carve this alabaster sculpture of a clothespin.
He realized only later, as he sat regarding the piece in his studio, that he had made a sort of industrial (or, more accurately, pre-industrial) version of Brancusi's famous sculpture, The Kiss, from 1913.
But whereas Brancusi's stony lovers were bound together in their endless embrace by an inner drive of desire, the two sections of his new embrace were spring-loaded. Desire had been reduced to pressure. "A sculpture for our time," he thought ruefully.
by Shelley Savor
by Kai Chan
Published on Mondays
with columns by Artist and Writer
Published since 2002, an Ocean and Pounds publication
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Located on the second floor of the gallery, 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