DOUBLE DOUBLE: Box-in-a-Valise (footnotes)

Abbreviations and Symbols

(HL) Holly Lee 黃楚喬
(LK) Lee Ka-sing 李家昇
Lee Ka-sing used "Wingo Lee" as his western name between 70's to mid 80's

< > label of a LOT in the exhibition
{ } title of a SERIES



(LK) <Istanbul Journal> (a stack of 178 prints displayed with a metal stand)

Istanbul Journal (2018), a folio contains 178 diptych photographs taken in Istanbul in October, 2018. This folio was issued under BIBLIOTHEKA, as #2. Print size of each diptych is 6.25” x 13” (image 5"x10"), printed on 192 g/m archival matte paper with archival colour pigment inks.

(Exhibition: "After Istanbul", three person exhibition by Lee Ka-sing, Holly Lee and Kai Chan, 50 GLADSTONE AVENUE, Toronto, 2018)

<DoubleDouble+> (publication)

DoubeDouble+ is a by month archive-on-paper edition of the DOUBLE DOUBLE weekly online zine. The magazine is 8.5 x 11 inch, 40 pages and printed in full colour.

Published by Holly Lee and Lee Ka-sing, DOUBLE DOUBLE was initiated in 2019 with the first issue published on 4th January. It is an e-zine published every Friday of the week.

An online weekly zine, it is partly a documentation of the projects Holly and Ka-sing began to work on, combing through archives of their earlier work, as well as art activities beginning in the late seventies through the past decades - their studios, writing, photography, publishing, art programs and gallery - from Hong Kong to Toronto. This DOUBLE DOUBLE online publication is also a platform to showcase their very recent work, from imaging to writings.  

From the beginning of 2020, an on paper version was launched on materials that have been sewn together every week. Contents of the “DoubleDouble+” archive-on-paper edition is based on the material from previous e-zines, using the unit of a month (4 to 5 issues each time), it will be published on a monthly format. That said, more time is needed for editing and putting together all the previous issues. New issues of “DoubleDouble+” will be available from the POD (print-on-demand) channel only.

DOUBLE DOUBLE (weekly online) free subscription at:

DoubeDouble+ (archive-on-paper edition) available at:

(LK) <I Hope You Are Well (to a contemporary art space in Beijing)>
Mixed media, 52.5 x 3.5 x 1.5 inch (2014)

{Mobile Poetry Lab series}
"The Mobile Poetry Lab series began in 2012, as a continuation of my poetry writing activities which go back to the early seventies. The main difference is that this time, I am writing in pictures rather than using language in text."

More than a dozen works were made in different scales and in a mix of horizontal and vertical formats. Some of them are exist as separate pieces and are presented like an installation.

see also: WEB PAGE for Mobile Poetry Lab series

(LK) <Early self-portrait> (vintage photograph, printed in 70's)
Fibre-base silver print, 8 x 10 inch, Kodak light weight mural paper.

Taken in LKS father’s photo studio with a LINHOF 4x5 Technika classic in front the dressing table mirror, in circa early seventies. Ka-sing's father used this camera for most of his table-top work from the sixties to eighties. After all, Ka-sing inherit this LINHOF along with his own Sinars.

(HL) <Twenty Photographs> (vintage photogram, printed in 90's)
Fibre-base silver print, 10 x 12 inch (1995).

"During my experimental period of photography, I laid out some of my old photo booth pictures, along with photos given by close friends around that time, including my cousin, to make a photogram called Twenty Photographs. Based on Twenty Photographs I further developed it into an interactive cd-rom. By clicking on each photograph, viewers were led to a little piece of narrative, or video."

(Exhibitions: "Nextstop" Goethe Institut, 1995 / “Restricted Exposure” City Hall, Hong Kong, 1996)

This photogram was applied as the cover of DISLOCATION Magazine, “Identity Issue”, March 1995.

<Arrow> (artifact)

Prop used in a photography assignment for adverting. Ad agency: J. Walter Thompson.

(HL) <Madodhisattva> (vintage inkjet print)
Image size 20 x 25.5 inch, printed in 1995.

{Hollian Thesaurus Series 1993-2000}

(Exhibition: "NeXstop", four-person exhibition on digital imaging, Agfa Gallery, Goethe Institut, Hong Kong, 1995)

see also: FOOTNOTES #11

<Wire Mandala> (artifact)

An object used for one of the photos in Lee Ka-sing's  Z FICTION series.

(HL) <Hong Kong Memories Series> (inkjet prints displayed in binder)
A suite of twelve inkjet prints, paper size: 8.5 x 11 inch, image size: 4 x 9 inch each.

Hong Kong Memories was a work produced in 1993. A project supported by Fuji Films, with historical/personal images reproduced from Fuji instant films and transferred on paper as diptychs.

"1997 was the year when Hong Kong was returned to China after more than a hundred years rule. It was also the year I moved to Canada, departing life from a familiar and comfortable zone.

My life story started in 1953 in the small Island of Hong Kong, then Colony of the British Empire. That was all my world, vision and pride. I was proud to speak good English as a teenager, when the language was considered a prime factor of getting decent jobs. It was the year Queen Elizabeth II 0crowned queen of England, the death of Josef Stalin, the end of the Korean War and numerous atmospheric nuclear testings in the U.S. state of Nevada. The year when the North Sea flooded, killing thousands, and the first colour television sets went on sale. All but tiny dots in history, his and her stories, past present and future intertwined."

(Exhibition: "Four Perspective" four-person show, Chinese Cultural Centre, Vancouver, 1997)

(Publication: Photo Pictorial, issue 336, July, 1993, with an article by Carmen Li)

<How to read the lines of your hand> (artifact)

This hand was used in the Hong Kong Memories project. The return of Hong Kong to China in 1997 had shrouded the city's future with uncertainties.

(HL) <Hollian Thesaurus series> (a set of inkjet prints)
A suite of 8 x 10 inch inkjet prints in binder.

{The Hollian Thesaurus series, 1993-2000}
It was conceived as a study and contemplation on religion, power, technology and the conflux of East and West Culture. On and off the series continued for almost a decade.

"The first image, Madodhisattva was produced in 1993. As I was gradually recovering from a major illness, I thought a lot about religions, their commonalities and differences. There was one thing I found throughout: compassion. The idea merged into an image of the blessed mother Madonna, and the merciful Guan Yin (Bodhisattva). I wanted to create a portrait of this image so I asked a friend to model for me. She had all the qualities I required for this persona. After all the costuming, make-up and hair stying, Madodhisattva was no longer an imagination. She was born.

A sense of urgency grew as 1997 was drawing near, I wanted to produce something that would respond to Hong Kong’s history and identity. Subsequently, work in the Hollian Thesaurus series produced before the new millennium, especially three major work: Jinx, in Front of Hong Kong Harbour (94), Bauhinia, in Front of Hong Kong Harbour (97) and The Great Pageant Show (97) reflected such notion.

After moving to Toronto, I was invited by the Hong Kong Heritage Museum to produce some work for the group show in their inauguration exhibition. I proposed to exhibit new work from the Hollian Thesaurus series. Now, totally new to a place, without professional studio set up, connection to models, make-up artists and hair stylists, I switched to a different approach. I used egg, tomato, Barbie doll, porcelain figurine, snow globe to create six more new work."

(Exhibition: The suite accomplished before 1998 were shown in different exhibitions in Hong Kong, Japan, New York, Berlin and Vienna, most notably in the group shows A Hong Kong Portfolio organized by Asia Society at the Hong Kong Convention Centre (1997), and On Hong Kong: Hong Kong City Hall organized by NuNaHeDuo, Dislocation Magazine (1998). The work completed in 2000 were exhibition at the exhibition Art +01: A Digital Exploration at the Hong Kong Heritage Museum in 2000)

(Collection: Jinx, Bauhinia and The Great Pageant Show were in the collection of M+ Museum, Hong Kong)

(LK) "Time Machine" (27 pieces of work in three panels)
Mixed media. In three vertical panels, 1810mm x 220mm x 67mm each. unique, each piece contains 9 pieces of individual photograph (172mm x 172mm x 36mm, printed on paper with pigment ink, mounted on spruce, acrylic medium), unique. (produced between 2017 to 2019)

"When darkness leans from all sides, and you are alone. There is no reference
of large or small, light or heavy, far or near, now or before, we space walk,
without a landmark." (from artist statement, exhibition at Lumenvisum, Hong Kong, 2019)

(Exhibition: "Five Poems", GALLERY 50, Toronto 2018 / "Time Machine", Lumenvisum, Hong Kong, 2019)

see also WEBPAGE:

<Metal Plate “已接電” (yǐ jiē diàn)> (artifact)

“已接電” (yǐ jiē diàn), literally means connected to power. This piece of metal plate was made in China for signage purpose. Purchased in Shanghai in 1981, it was used in one of Ka-sing’s photographs that appeared in the 1981 exhibition.

<A case of Polaroids> (Polaroids in a plastic box)
Polaroids in various format, 80s to 90s

An archive of Polaroid test shots from the studio of Ka-sing and Holly, in various format, and from different assignments. Polaroids were used for composition , or light testing, for studio photographer, in the days before digital era.

"My Polaroids are also documents. They eye-witnesses to some of my works before they were finally created."

On the other hand, Polaroids are unique, people collecting Polaroids, along the side of collecting photographs, silver prints. "A Permanent Instant: instant photography from 1980s-2000s by Hong Kong artists", an exhibition in 2016 at Blindspot gallery included some of Ka-sing's Polaroids from his early studio works. A number of them are now in the collections of museums and private collectors.

see also WEBPAGE -

(LK) <Mom says, "Come home for dinner tonight"> (vintage inkjet print on canvas)
30 x 40 inch, this work was printed in 1996, one from a suite of ten artworks from FOODSCAPE series.

{FOODSCAPE series 1996}
FOODSCAPE was a major collaboration Ka-sing worked with his late poet and writer friend Leung Ping Kwan (1949-2013). The inauguration of the collaboration was an exhibition held at ARTSPEAK gallery in Vancouver in March of 1997, as part of the programme for CITIES AT THE END OF TIME: HONG KONG 1997, which brought together artists and writers from Hong Kong, Canada and the U.S. to present works that explored the cultural and social identity of Hong Kong. The show was mounted at the McIntosh Gallery in London, Ontario in the same year.

After that inauguration, this collaboration project was further developed and exhibited in other cities: at the Goethe-Institut, Hong Kong (1998), at Rou-un-ki Aki-ex Gallery, Tokyo (2000), at Ruffini Kultur, Munich (2000) and in 2004, there was a larger exhibition at the Hong Kong Heritage Museum (with guest artist Millie Chen).

In the first chapter of FOODSCAPE, in two sets, ten works were made, each image being 30 x40 inches, in inkjet on canvas. Unfortunately, the exhibition set was somehow lost when returning from Canada after the exhibitions abroad.

In 1998, a small number of black and white gelatin silver photographs were also made, with support from AGFA, part of their help in producing diamond screen digital negatives.

(Exhibition: ArtSpeak Gallery in Vancouver in 1997)

see also FOOTNOTES #103

<Joint-movable Plastic Figure> (artifact)

This Staedtler figure was made in Japan. It was used in Ka-sing’s 1995 Forty Poem series with the title “Human Figure and the Sense of Gravity”.

"Tse Chi Tak visited on June 2nd and gave us "KING HEAVEN AND EARTH QUEEN”, his recent book on the demolition of Queen's Pier. Somehow, the waterfront also reminds me the development of Hong Kong photography"
Mixed media, 24.5 x 3.5 x 1.5 inch (2013)

In 2013, Tse Chi Tak (photographer from Hong Kong), visited Ka-sing in Toronto and gave Ka-sing his recent book 'KING HEAVEN AND EARTH QUEEN' as a present. Contents of the book are photographs of Queen's Pier, protesters, construction sites, excavators, polices, arrests taken in December 2000. Ka-sing created this work right after the reunited meet with Chi Tak.

MOBILE POETRY LAB is a series of photo work Lee Ka-sing using images (solely) to construct a POEM, instead of writing with texts. More than a dozen of work in the series were created between 2012-2014. However, some of these Picture Poems were 'translated' (or transformed) by him, into texts form (in Chinese). One image turned into one line in a poem.  His 'translation' for this piece -


see also: WEB PAGE for Mobile Poetry Lab series

see also: FOOTNOTES #3


(HL) <Wild Goose Kite> (vintage photogram printed in 1995)
Unique work 16 x 20 inch on fibre-base paper.

The image was used as the cover for Dislocation Magazine Volume 3, 1995.

(HL) <Table Still-life> (vintage photogram, printed in 1995)
Unique work 16 x 20 inch on fibre-base paper.

This photogram was created as an experiment.

<Round Metal Plate> (artifact)

This plate was used in Ka-sing’s 1995 FORTY POEMS series, a work with the title “Movement Control Panel And The Other Arguments”.

<Dislocation Magazine> (publication)

(The background: Lee Ka-sing was invited by Mak Fung to write a 3-page column (1985-91) on photography, for Photo Pictorial.)

October 1991, Lee Ka-sing proposed DISLOCATION in Photo Pictorial, DISLOCATION (1992-98) published its ‘zero issue’ on 15 January 1992.

A Hong Kong cultural magazine focusing on contemporary photography, published from 1992 to 1997. It had provided opportunity for artists to create new work, and a platform to interact with other art media. Founded by Lee Ka-sing, Holly Lee and Lau Ching Ping in 1992, and later joined by Patrick Lee and Blues Wong, the project has documented a decade long photographic activities in Hong Kong during the 90s.

<Foto Post> (publication, published from 2003-2004)

For two years, Foto Post existed as A PDF version printed on demand, ranged from one to nine pages. Produced by Holly and Ka-sing in a newsletter format focusing on international photography movements. Contributing writers: David Miller, Jack Liang, Katy McCormick and Bob Black.

<DIGI Magazines Annuals> (publication, from 1994 to 1996)

A magazine on digital art featuring Hong Kong and international artists. Published by Photo Art Magazine, where Yau Leung was the chief editor.

<Photo Pictorial Magazines Redesigned, 2004-5>

Photo Pictorial was a traditional Chinese photo magazine published in Hong Kong from 1964. From 2004, Ka-sing helped to redesign and restructure editorial contents of the magazine, trying to connect it to the 21st century photography pulse. Due to editorial differences it did not work out and the magazine ceased publication in 2005.

<Publication covers> (books)

A selection of books/publications designed and created with images by Ka-sing (Poésie no. 88, City at the End of Time, Travelling with a Bitter Melon etc.)

<Youth Literary books> (books)

A series of books with cover designed by Ka-sing.

<Brush> (artifact)

Woodcut block inking brush and printmaking baron, used only twice for woodcut printing in the seventies.

<Bibliography> (artifact)

A selection of publications which have featured Ka-sing and Holly's work.

<Postcards> (4 x 6 inch vintage postcards)

Two containers of postcards Ka-sing and Holly produced in the 80s and 90s. Consumable on site.

<IndexG Binder> (artifact)
4 x 6 inch card printed on chromogenic photo paper.

Two albums containing the @G exhibition promotional cards for every exhibition held at INDEXG from 2006 and 2018. Various artists. INDEXG is at 50 Gladstone Avenue where LEE KA-SING GALLERY, G+GALLERIES were located across two floors.

<Claw Script series> (exhibition prints)
A suite of seven 17 x 22 inch archival pigment prints printed in 2013, with an edition of ten.

"In the Chinese philosophical anthology Huainazi (139 B.C.), it says that "In ancient times, when Cang Jie invented writing, Heaven rained down millet and ghosts wailed at night". People felt blessed and cursed at the same time, seeing that writing had a certain power over them. China's first writing system - known as the Oracle Bone Inscriptions, was made up of characters inscribed on turtle shells and animal bones. First discovered and unearthed in the late 19th Century, the inscriptions consist primarily of records made during divinations, sacrificial hunting, wars or natural disasters.

Chinese writing has continued to evolve. The characters' unique, formal beauty developed into a highly distilled art form - Chinese calligraphy. It is through a revision of the origin of Chinese writing that I've come to fully aware of the history, beauty and the cultural significance of calligraphy, which rooted from Hanzi, character by character.

This mini series of work did not happen by chance. When I saw the scratches on the floor, many of them made by Suki my cat, they conveyed a familiar and strong feeling, almost with aesthetic qualities parallel to the Bone Script. In a way, Suki expresses his feeling of anxiety, curiosity and perhaps even joy and pain through these incredible markings. The Claw Script series, as I titled this work, serves as my playful response and tribute to the archaic, sophisticated and spellbinding Oracle Bone Script."

(The series was exhibited in 2013 at INDEXG in Toronto)

<OP fotogallery Hong Kong (1998-1999)>

Seven photographs documenting exhibitions in the OP fotogallery Hong Kong.

<Hong Kong. Two Visits (2016, 2017)> (colour pigment prints)

A compendium of images taken in Hong Kong. This copy contains 125 pages including covers, 119 pages with photographs and 3 pages in plain texts. Format: 8.5" x 22" (216x559mm), printed on 192 g/m archival matte paper with colour pigment inks, hand-bound and unique. Produced in January 2018.

(Exhibition: Visions of Hong Kong From Two Generations Yau Leung | Lee Ka Sing, an exhibition organized by Sotheby’s in 2019, Hong Kong)

<Adjustable Spiral> (artifact)

This object had been used in Ka-sing’s photographs.

<A Tin Aeroplane I Bought in Vietnam in 1995> (artifact)

This object was used in a photograph published in Forty Poems (1998).

<Metal rod in half circle > (artifact)

A found object, used in Holly’s photo series PictureWords.

<"So you think you’re God?" Hong Kong Designers Association call for entry> (poster)
28.5 x 17 inch, offset printing with various layers of metallic colour.

Image created for Hong Kong Designers Association Design 96 call for entry poster. Poster designed by Anothermountainman.

<City At the End of Time> (artifact)

Promotional leaflet. This work by Ka-sing was featured for promotion by Tokyo Metropolitan Museum of Photography for the exhibition Asian View in 1996.

<89 • The Golden Lotus • Footsteps of June Mui Cheuk Yin 梅卓燕> (exhibition print)
C-type print, image 18" x 36", frame size 50” x 35".

"This photo project was within a larger, multi-layered project sparking off a dance performance accompanied with live music, and an art installation - all centred and created around the Chinese classic novel The Golden Lotus. Composed in the early 17th Century the novel is considered one of the six major classics of Chinese literature. 

When I was asked to join the Golden Lotus Project, the Tiananmen Square protests had just started in China. The portrait series I proposed to make of the performers and musicians was never direct interpretation of the characters in the book. But the six weeks of protests in China ended in bloodshed did affect the way I felt and the feelings injected into these photographs, and the title of the exhibition echoed these thoughts."

(Exhibition: Contemporary Photography from Mainland China, Hong Kong and Taiwan, 1994, Hong Kong Arts Centre)

<89 • The Golden Lotus • Footsteps of June (1989)> (exhibition print)
C-type super gloss print, image size 12 x 15 inch.

(Exhibition: at Le Cardre Gallery in 1989)

<OP Editions> (original prints)

Binders and boxes containing 8 x 10 inch prints from the OP Print Program. It was a print exchange and collecting program initiated by Holly & Ka-sing from 1995 to 1999.

<Ground glass frame> (artifact)

The frame was based on a 8 x 10 inch zone six wooden camera ground glass framework. A piece of prop specially made for shooting a cover for Cathay Pacific Airway’s in-flight magazine Discovery. It was a special issue on Asian photographers.  

The photograph was selected in the 33rd Annual Exhibition of Communication Arts (1992).

<Gold-shedding birds flew past the woods> (double prints displayed in glass stand)
Archival Pigment print, 22 x 8 x 4 inch, 10 editions. Image can be seen from both sides, front and back. Printed in 2010.

{Shan Hai Jing Series}
"Shan Hai Jing is a photographic collection of park panoramas, a travelogue through time, myths and imagination. Having lived for a number of years in Canada, I started to feel a sense of belonging, and eager to explore different textures of the city. I started to photograph parks, which are abundant in Toronto. The preoccupation of shooting parks perhaps arises from the aspiration of wanting to see things beyond specific time, space and geographic locations. A mind journey. Are there more stories to tell, things to be reckoned with in these seemingly ordinary places? My passage is not guarded nor ruled by time. Moving between the real and the imaginary, springing and bouncing off the trampoline to create free falls. In other words, my idea is to "rephrase" the ancient Shan Hai Jing texts with my own observation and narration, mixing contemporary and old, familiar and unfamiliar, visible and invisible, an acrobatic act springing back and forth in the arc of time."

(Exhibition: Earlier work was exhibited in What's Next 30x30 at The OCT Art & Design Gallery in China in 2011. More work from the series was shown in a three-person show at INDEXG in 2013)

<After the Tunnel> ((double prints displayed in glass stand))
Archival Pigment print, 22 x 8 x 4 inch, 10 editions. Image can be seen from both sides, front and back. Printed in 2010.

{Shan Hai Jing Series}
"Shan Hai Jing was written in China over two thousand years ago. A compilation of early geography and myths, it is a crisp narration between factual and fictional. I have different understanding of Shan Hai Jing at different stages but as I grow older, Shan Hai Jing gradually becomes a term of mine standing for a grotesque, fantastical, ancient, at the same time a future world. Behind the myriads of mythical masks Shan Hai Jing is never far away from human's cultural and political foot prints. I live like a time traveller dwelling in these thoughts. Shan Hai Jing can be associated with anywhere and anything. I feel Shan Hai Jing in the parks I am photographing."

(Exhibition: Shan Hai Jing Dialogue: An exhibition by Fiona Smyth, Holly Lee, Erik Jerezano at INDEXG, 2013)

<Beyond The Portrait> (publication)
8.25 x 8.25 inch, 320 pages, printed in full colour.

The exhibition brochure has featured Holly's two series of work in the group exhibition. The two series are: Pictures of My Friends, Artists and Others (1981-86); family portraits series.

(Exhibition: Beyond The Portrait, Hong Kong Heritage Museum in 2012)

<XO OX Beach> (original print in frame)
Archival pigment print in hand-made frame, 38.25 x 19.5 inch. 10 Editions.

{Scapes Series, 2018}
"Scapes is about abstractness. Imageries are everywhere. Sometimes they make sense and dance around until you make a move to acknowledge them. To me, these ordinary, banal surfaces have become serene. I filter through them in different dimensions."

(Exhibition: IndexG, 2018)

<On Hong Kong Exhibition 1998> (photographs)

Photographs taken in the Hong Kong City Hall during the exhibition. A project co-organized by Dislocation Magazine and the Hong Kong Fringe Club to commemorate the 1997 handover of Hong Kong to China. Exhibits were selected based on fifteen artists’ work published by Dislocation Magazine in the special issue On Hong Kong in 1997.

(HL) <Maple Leaf> (2017)
Two pigment prints, viewable front and back. Paper size: 8 x 10 inch. Unique.

{One’s series}
"My curiosity in seeing things differently always leads me to work a bit out of the norm. One’s consists of a group of intimate portraits of personal objects connected to me in certain points of my life. A bowl, a small figurine, a paper cup, a postcard, a maple leaf, each object photographed front and back. Instead of standard framing, I present them with domestic frames which can be seen from both sides. Every object in the picture is a dot of life, a pause to a continuing state of consciousness, a link to many missing and forgotten moments.

Tomio Nitto our friend is truly our hero. One afternoon he gave us a small present - three beautiful maple leafs he picked from the ground on his way to our place. He definitely has the talent of finding free, good stuffs. I had photographed the Hong Kong flower many years ago. Where I came from, a small, self-centred cosmopolitan city, we only knew there was one flower for the city, named Bauhinia. When I arrived Toronto in 1997, I wanted to photograph its city flower - the Trillium, but later I found out it is the flower of Ontario, the province. Toronto has no city flower. Canada has no official national flower, though many would agree to name Bunchberry. So for quite some time I had mixed up the provincial flower with the city flower and the national flower. I photographed the Maple leaf instead, which appears in the flag, and so often in souvenirs as the emblem of Canada."

(Exhibition: Both Sides Now, at INDEXG, 2018)

(HL) <Hockey Player> (2017)
Two pigment prints, viewable front and back. Frame size: 8.25 x 6.25 inch, unique.

{One’s series}
"Honest Ed's has gone. One of the icons of Toronto has become yet another image nesting in my memory bank. When I first came as an immigrant I lived and acted as a new person, I thought as a new person and never reflected that I was going to become part of its history. I have evolved or, been eroded in a good way.

I bought this hockey player maple syrup when I visited Honest Ed's for the last time before it was closed down in March 2018. This glass figurine fit well in one of my photo series. Two years ago, I wrote a short piece about this landmark discount store called A portrait of two plastic bags. I always regret that I have never been to Ed's birthday parties, nor the turkey giveaway events. I also miss the store sign and its 23,000 light bulbs."

(Exhibition: Both Sides Now, at INDEXG, 2018)

(HL) <Tim Hortons> (2017)
Two pigment prints, viewable front and back. Frame size: 3 x 3.5 inch, unique.

{One’s series}
"I would describe our early years in Toronto as a leisure, Double Double life of two settlers at Tim Hortons. Tim Hortons calls it double double by adding double cream and double sugar in its coffee - a popular choice by many customers. I remember Yvonne, one of our first Canadian friends, told us three top Canadian things: poutine, hockey and Tim Hortons. We take our coffee at Tim's now with one sugar and two cream."

(Exhibition: Both Sides Now, at INDEXG, 2018)

(HL) <Old Postcard> (2015)
Two pigment prints, viewable front and back. Frame size: 4 x 6 inch, unique.

{One’s series}
"Han Xu, a friend from Beijing once said, "revolution is romantic". Ideology burns with passion, outburst of hope and energy only the youths possess. Indeed revolution is still romantic today, but are the umbrellas ready to shield off storm that is going to come? The same helplessness echoed in an old postcard I received from ah Fai in 1988. 'The twilight is brilliant but soon we'll lose the sun', wrote Fai.

This postcard intermittently reminds me of my teen days too. I was living on the 18th floor of a tall building called Skyscraper in North Point upon a small hill. Our kitchen was facing west, towards Sai Wan (West Bay), where the sun set to grandeur in this view. T's the nightly scene when I did my dish washing, listening and humming to the Beatle song I Want to Hold Your Hand."

(Exhibition: Both Sides Now, at INDEXG, 2018)

(HL) <Suki> (2017)
Two pigment prints, viewable front and back. Frame size: 6.75 x 12.75 inch, unique.

{One’s series}
"Tomio Nitto made this beautiful paper mâché cat after Suki. Later, he made another paper mâché figurine for Henry and Wing’s vision impaired dog Tofu."

(Exhibition: Both Sides Now, at INDEXG, 2018)

(HL) <Little Green Dancing Hood> (2015)
Two pigment prints, viewable front and back. Frame size: 8.25 x 6.25 inch, unique.

{One’s series}
"Like many Hong Kong-borns in the colonial era, I was ignorant, and oblivious to the Chinese Cultural Revolution (1966-76) - the ten turbulent years that turned the country upside down. Sheltered perfectly from the deeply inhumane and catastrophic storm I watched yangbanxi -revolutionary model operas like The White Haired Girl and The Legend of the Red Lantern with mixed curiosity and delight. With the same mentality I bought this soldier figurine - a peaceful looking little green guard, a model precedent to the emergence of the rebellious and menacing red. At that time I wore green liberation army shoes too. The idea of anything revolutionary is sheer romantic, that is without actually going through it."

(Exhibition: Both Sides Now, at INDEXG, 2018)

(HL) <Bowl> (2014)
Two pigment prints, viewable front and back. Frame size: 10.75 x 8.75 inch, unique.

{One’s series}
"I broke one of the two bowls mother gave me as a wedding present. The bowl is repaired, but never put into use again. I love the Chinese landscape and calligraphy around it - luminous lake and mountain green. It always evokes the kind of love I have for the bygone eras of China, which only exist in books and mostly, in my imagination now."

(Exhibition: Both Sides Now, at INDEXG, 2018)

(HL) <Studio portraits> (2017)
Two pigment prints, viewable front and back. Frame size: 3 x 3.5 inch, unique.

{One’s series}
"I can look at these two photographs at a distance, like I don’t know them. Personal memories can easily become collective memories. But I do know one of them. The man Lee Bo Kwan was Ka-sing’s father in Guangzhou. He was actually the elder brother of Ka-sing’s birth father. It was a Chinese custom, when the older brother has no son, the first son of the younger brother will automatically become the older brother’s. I’ve met Lee Bo Kwan several times and my impression was good. I found him friendly, knowledgeable, respectful and had no problem regarding him as head of our family. I had never met his wife for she died years ago before I knew Ka-sing. For me, these photographs become markers of a period - a time before China adopted Communism. They were taken perhaps in the 1940s, when China was still under the Nationalist Party’s rule."

(Exhibition: Both Sides Now, at INDEXG, 2018)

<Two bottles> (artifact)
Used in Holly's One's photo series.

"Both are bottles containing maple syrup. I got the first one from Honest Ed’s, the second one from HomeSense. Eventually I used the bottle from Honest Ed’s for One’s photo project, in the photograph titled Hockey Player. It has a better shape."

<Little girl soldier> (artifact)
Used in Holly's One's photo series

"I bought this figurine in the 1970s. I have always loved Chinese folk art, and China was full of traditional as well as revolutionary objects at that time. Ka-sing had bought a lot of Mao batches. We lived in Hong Kong, just a few hours from the border of China, yet our life experience was so unimaginably different. We imagined China, and so often drowned in nostalgia."

<Cat paper mâché> (artifact)
Used in Holly's One's photo series

"Iris took Suzi back from the Humane Society in early 2008. He had the name “Holden” then, but we renamed him Suki. We originally wanted this feminine name before even knowing the gender of the cat we were about to adopt. A stubborn, one-year old male black and white cat, it took almost half an hour to get him into the carrier from his temporary shelter."

<Original postcard (Hong Kong)> (artifact)
Used in Holly's One's photo series

"This is an old postcard I received from ah Fai in 1988, when most of us still lived there. On it he wrote, "The twilight is brilliant but soon we'll lose the sun”. Sentimental, but not without a point. We had in truth enjoyed the last but best decade before Hong Kong was returned to China."

(LK) <Meditation> (diptychs displayed on iMac 27" screen, randomly)
A piece of work presented as screen saver displayed on an I-Mac 27” monitor.

{Duet Series}
From 2014 to now, Lee Ka-sing's pairing picture practice every day, or every two to three days, harvested a considerable amount of diptychs. The original idea was to pair images casually, like capturing instant thought at the time. In this exhibition, diptych images appear randomly in short spurts. The brief appearance leaving an afterimage on the viewer’ s mind, the ending is the beginning.

(Exhibition: Lumenvisum, June 2019)

(LK) <Zen Tao Journal> (2 prints monted on wood panel)
Photographs mounted on 12 x 12 x 1.5 inch wood block (2010)

{Zen Tao Journal series}
A study of oriental subject matter and objects. Approximately 20 works were made; some of the works can be viewed at:

DOUBLE DOUBLE online magazine covers presented on the box. Monitor size: 16 x 18 x 3 inch.

This e-zine is published on Fridays, by Holly Lee and Lee Ka-sing, featuring their current work as well as archives from work of the late seventies to present. Free subscription:

(LK) <Journey> (1993) (exhibition print)
C-type photograph, 72 x 50 inch, framed.

Originally produced as a cover for PK Leung’s book: Memory of a City • Fabrication of a City, published by Oxford University Press in 1993.

(Exhibition: 31 Photographs, Hong Kong Art Centre, 1993)

<Test strips from the lab of Ka-sing and Holly> (photographic papers)

A collection of colour and black and white test strips from work during 80s to 90s. Paper varying from fibre base, resin base to Cibachrome.

(LK) <Z Fiction> (25 prints in frame, individually, displayed in grids)
Archival pigment prints, 8x10 inch

{Z Fiction}
"Z Fiction is a series of photo-based works I began in 2008. To date, around 70 works have been made. The work is fictional and narrative, and individually, each piece is independent and self-contained. The texts came after the images."

(Exhibition: part of the series was exhibited in What's Next 30x30 at The OCT Art & Design Gallery, China in 2011)

<Double Double Publication zero issue> (publication)
Printed on C-type photographic paper, each issue consists of two individual pages, each page measuring 12 x 18 inch. This issue was issued in 2006.

An early format of Double Double as a publication. The idea was intended for a collaboration with a chosen artist. The zero issue featured a work by Ka-sing, paired with a poem by Leung Ping Kwan translated by Luo Hui. Only two issues were published.

(LK) <Book shelf at Candy Factory Loft> (vintage unique photograph, circa 2003)
Photograph directly on 8 x 10 inch Azo paper, in 2003 or 2004.

A negative image of a book shelf. Testing of photograph directly through a  8 x 10 inch camera with Azo paper.

(LK) <A pair of portraits of Holly> (vintage unique photographs, circa 90's)

Holly sitting for direct camera shooting, on material one: black and white fibre base paper with a 8x10 inch camera; material two: cibachrome paper with a 4x5 inch camera.

<Three or Four Objects from Ka-sing’s Studio>
Original photo booth photograph shot in 1995

This image was used in the Photo Booth Issue of Dislocation Magazine published in February, 1995. Thirty eight artists had contributed photo booth pictures in that issue.

(HL) <Lomo Sampler> (original work)
Multiple colour prints, 2 x 5.5 x 2 inch printed in 2002, unique.

A photo work for the curated group show Docu Lomo during CONTACT’s Photography Festival in 2002. Shot with Supersampler producing four sequential shots in one frame. Prints were made in printing lab in Costco, or customary printing labs in Malls.   

(Exhibition: Gallery TPW, Toronto, 2002)

(LK) <wingo lee a photoessay> (vintage prints)

A folio of black and white photographs on Cantonese Rod Puppets. Folio size: 10 x 15 inch. This was Ka-sing’s first solo exhibition.

(Exhibition: Art Promotion Gallery Hong Kong, November, 1976)

(HL) <89 • The Golden Lotus • Footsteps of June invitation> (artifact)
4 x 8 inch, printed on super gloss paper.

This is a hand-made invitation, print sponsored by the lab Christco.

(LK) <Thinbit studio series> (1989-2006)
8 x 10 inch, photo copies

{Thinbit studio series, 1989-2000s}
A large grouping of black and white work Ka-sing initiated in between 80s to 90s. This included collaboration with Tsang Tsou-Choi, the King of Kowloon and other artists.

"It all began with the idea of “rethinking photography.” Line-works are photographic images, but without the middle-tones. And of course a copying machine is one more type of camera, among many others.

In 1989, with these concepts in mind, I began to create collage works by using a photo-copy machine. Multi layers of images were over-printed onto a single piece of paper. It wasn’t until the mid nineties, that I switched to using a scanner and working on computer for layering. From 2006 onward, I turned back to the camera instead of using a scanner. But I must say, all of these processes are intriguingly different, and exert different psychological effect on you while you are working.

Walking Lines from the Thinbit Studio is a title I made up while putting the works together with the pieces I produced from 1989 to 2006. Over a hundred works of that type were made during those years. They include the cover work created for IDN, a digital arts magazine; The call-for-entry poster for Hong Kong Designers Association Awards; a poster for a June Forth art exhibition, Advertising for Hong Kong Telecom, the Cover of the Grant Application Guide brochure for Hong Kong Art Development Council, a series of more than a dozen book covers for Cultural Perspective of Ching Man; Wall murals for Asian Legend, a restaurant in Toronto, and more."

(LK) <Eastern Europe Journal> (vintage photographs)
8 x 10 inch, photographs overprinted graphics with photo copier, 1993.

"A series of black and white photographs created for the May issue for UNITAS, a Taiwanese literary monthly. It was a special section of 24 pages dedicated to featuring Leung Ping-Kwan’s poems on Eastern Europe, and my photographs of that trip we made together at the end of 1992. I printed a selection of images and overprinted other elements on them with a photo copier."

(LK) (HL) <Woolmark in Perspective> (Postcards)

In 1997 Woolmark invited a number of photographers to work with fashion designers and each would produce two images for an exhibition organized for this project. Holly worked with Walter Ma, and Ka-sing worked with Benjamin Lau.

(Exhibition: Woolmark in Perspective, 1997 Hong Kong)

<Cameraworks, Holly & Wingo exhibition brochure> (publication)
11.5 x 17 inch, 20 pages including the cover.

This exhibition catalogue was designed by Wong Kin-Ho of Illustration Workshop, cover photo by Leung Ka-Tai.

(Exhibition: Cameraworks, Holly & Wingo, Hong Kong Arts Centre, 1981)

<Holly Lee name card> (artifact)
3.5 x 4.25 inch, 1982.

A member of the Illustration Workshop, Kwong Lap-Hei designed this name card for Holly. He shot a bunch of photographs with a Polaroid SX-70 cameras. Displayed here are the original SX-70 shot, and the printed name card (following the exact size of the SX-70).

<Miscellaneous studio promo/stationery> (artifact)
Various sizes, from 1979 to 1997

Over the years, Holly and Ka-sing had produced many promotional materials - name cards, leaflets, bookmarks, company brochures and advertisements. Social media was then essentially a paper thing.

<Studio metal plate> (artifact)

"During our Honeymoon in 1981, we brought back a bunch of enamel metal plates from Shanghai, and this one was used as a company sign for our studio. On it we boasted we’re safely on shift for 24 hours."

<Cherries> (artifact)

Used as a prop for an assignment for Lilian Tang Design.

<A Hong Kong Portfolio> (small booklet, photograph)

"We produced this project in conjunction with Asia Society Hong Kong Center in May 1997, just two month before Hong Kong was returned to China. The project included a one-day exhibition with large size work by sixteen photographers and a dinner event attended by the Chief Executive Tung Chee Hwa. A publication with two books in a box set was produced. Book One introduces Asia Society Hong Kong Center and its cultural program list from 96 to 97. Holly Lee’s Bauhinia was used as the cover, and a number of Yau Leung’s photographs of Hong Kong were used in the inside pages. Book Two is a collection of images by the sixteen participating photographers. Pictures here show the venue set up for the event."  

(Exhibition: Hong Kong Convention & Exhibition Centre, 1997)

<Out of Context> (folio)

Organized by Christine Loh, this exhibition took place at a old house at 15 Kennedy Road, Wanchai, Hong Kong. Holly Lee had a portrait session of all the artists involved in this exhibition. It was used as the cover of a folio of this event. At the back of the folio it was written, probably by Christine herself:

“We began with the house - a run-down mansion with elegant and unusual proportions; one of Hong King’s last surviving family mansions. Built by the Eu family and now crumbling towards its probable demolition.”

Holly had also taken some documentation shots of the exhibition, which were used in Qiu Ying Shi Kan October 1989 issue.

(Exhibition: Out of Context, 1987)

(LK) <The Language of Fruits and Vegetables> (publication)
Designed by Ka-sing, 5.5 x 5.5 inch, 288 pages, printed in 2004.

The Language of Fruits and Vegetables is a collaboration piece between Leung Ping-Kwan and Lee Ka-sing. It takes the form of an artist book, which consists of ‘Green Salad’ - a poem from Leung, and 252 photographs from Lee’s dots Hong Kong series. 500 copies were presented as an installation in the three-personal exhibition in Hong Kong.

(Exhibition: Hong Kong Foodscape, Hong Kong Heritage Museum, 2004)

<Perspective> (publication)

A catalogue published on the occasion of the exhibition Perspective held at Space Untitled Gallery, New York City in October, 1997.

<Portraits of Holly and Ka-sing> (photographs)

Different stages of HL+LK portraits.

<New Images from Hong Kong> (postcard and poster)

The photo critic Kohtaro Iizawa curated this exhibition of eight Hong Kong photographers for Tower Gallery in Yokohama, 1996. Ka-sing’s images were used in the poster as well as the promotional postcards.

<Hand-made camera> (4x5 camera)

A hand-made lightweight large format camera Ka-sing made for Holly’s Shan Hai Jing project.

(HL) <Owltoise series> (invitation card)
5.5 x 9 inch, with the poem Owltoise in Chinese.

{Owltoise series} 1985
Produced as a photo essay. This invitation card was designed by Li Kam Fai, a member of the Illustration Workshop.

(Exhibition: Photo Centre, 1985)

<Butterfly> (artifact, around 1987)

Si-ling (Iris) made this clay butterfly around the age of four. Ka-sing used it in one of his early photograph and titled it Si-ling And Her Butterfly, 1995. It was featured in the book Forty Poems.

<Poetry and photography>  (brochure + photo)
7.5 x 7.5 inch, full colour, 24 pages, images and poems.

The first collaboration between Lee Ka-sing and Leung Ping-kwan. Organized by the Urban Council Public Library, the event included an exhibition and a talk at the public library in April 1990.

<Re-considered Crossings: Representation Beyond Hybridity and traversals> (publication)

Two publications produced in relation to the exhibition Re-considered Crossings: Representation Beyond Hybridity, an arts and cultural exchange between Hong Kong and Vienna. The exhibition was held in Fotogalerie Wien in 2001, and Hong Kong at Fringe Club galleries and Para/Site Art Space in 2002.

(LK) <Red seal on paper> (artifact)

An impression of the red seal is actually Holly's pen name “bronze earth”. Ka-sing made this seal for Holly in 1975, the year his interest turned to stone seal carving, but this was the only one he made, and unfortunately the stone was also lost. All that left is this stained piece of paper, the impression and the date he made the print, in pencil.

(LK) <Early collage covers> (originals, circa early 80s)

Ka-sing’s earliest collage style visual work - tear and paste. It was created for some book covers. However he did not venture further with this method.

<OP Editions> (publications)
5.5 x 5.5 inch, full colour, 24 pages.

A unique print exchange and collecting program (1994-1999) established by Ka-sing and Holly in 1994. Prints in the collection were produced in a standard format of 8 x 10 inch, in 20 editions as fibre-base/colour coupler prints or printed with alternative process like transfers on art paper. Over the course of four years over a hundred photographers had participated. On table are catalogues produced in 1995 and 1996, and a brochure on the print program.

(HL) <Postcards from Istanbul> (a fiction 2019)
A box set of 3.75 x 5.75 inch postcards sent from Istanbul, 2019.

A suite of 18 hand-made postcards mailed from Istanbul to Toronto in the Summer of 2019. Archival pigment prints, hand-writings, stamps (words by Holly Lee, with photo images by Lee Ka-sing). In the collection of Kai Chan. It was one of the exhibit in AFTER ISTANBUL, a retrospect of the journey organized a year after, as a one-day exhibition at 50 Gladstone. The beautiful box was made by Kai.

(Exhibition: "After Istanbul", three person exhibition by Lee Ka-sing, Holly Lee and Kai Chan, 50 GLADSTONE AVENUE, Toronto, 2018)

(LK) <Vision of Hong Kong From Two Generations Yau Leung | Lee Ka Sing> (invitation card and publication)
8.5 x 8.5 inch, full colour, 108 pages, published in 2019.

An exhibition organized by Sotheby’s in its S|2 Gallery (Hong Kong). This catalogue was produced on the occasion of the event.

(LK) <Woodcut> (artifact)

Ka-sing produced this woodcut in the mid-70s. It was a logo for a series of books on woodcut he was going to produce. The project had published two books and then discontinued. The logo was never used.

<NCP opening> (photographs)

NCP stands for NuNaHeDuo (Dislocation) Centre of Photography (1998-2000). Established in 1998 NCP worked as a non-profit centre committed to the advancement of photographic art in Hong Kong. The organization shared venue with OP fotogallery, which was converted from Ka-sing's former studio shortly after he left Hong Kong. This group portrait was taken during the opening exhibition Playdium in April, 1998.

(LK) <The Second-read and other Negotiation Matters> (prints)
A suite of 8 x 10 inch colour pigment prints in a binder.

"A series made between 2009 and 2010, as a re-visitation of some of the books that I previously acquired. They are, in some way, a kind of dialogue. 128 works were made. In March 2010, a selection of pictures from this series was exhibited at Jerome Liebling Center for Film, Photography, and Video, in Massachusetts."

(LK) <POETRY> (magazine)
8.5 x 11 inch, 24 pages, first published in 2020.

POETRY zine, a publication of Ka-sing’s new work, is published 10 times a year. Available in two versions - regular edition, and a deluxe edition that comes with a signed original print. Regular edition can be viewed and ordered online, while the deluxe version can be ordered through

(LK) <Revisit, with Ya-si> (publication)

An independent 5 x 8.5 inch colour publication attached in the BeingHong Kong Magazine inaugural issue in 2018. Ka-sing retraced memories with poet friend Leung Ping Kwan, who passed away in 2013, with photographs he made during 2016, 17 and 18, juxtaposing lines extracted from Ping Kwan’s poems.

<YYZ Dialogues> (@G promo card)
4 x 6 inch, printed on photo paper.

Ka-sing and Holly organized this exhibition of Seven Toronto artists in response to the poems of Leung Ping Kwan. The poet could not come to the opening, his daughter Anwen came in his place, and read one of his poems. The artists in the exhibition were: Laura Barron, Ximena Berecochea, Gary Michael Dault, Larry Eisenstein, Holly Lee, Milena Roglic, Z’otz* Collective. YYZ Dialogues was held at INDEXG in September 2011. The exhibits were used later, as part of the editorial content for the book Leung Ping Kwan (1949-2013), A Retrospective in 2014.

(LK) <FOODSCAPE catalogue and artifacts> (booklet, photograph, newspaper)

FOODSCAPE catalogue: 10 x 10 inch, printed in red and black, self-cover, 24 pages. (published in 1997 by The Original Photograph Club). The brochure was produced in the occasion of an exhibition at Artspeak Gallery in Vancouver. FOODSCAPE catalogue includes 10 images, which was the full suite of Ka-sing's work in the show and 10 poems by Ping-kwan, in both Chinese and English translation (trans. by Martha Cheung).

Among the artifacts, a colour photograph original, taken by Iris Lee, Ka-sing’s fourteen year old daughter, Lee Ka-sing and Leung Ping-Kwan at a Portuguese Restaurant El Cid at Causeway Bay, Hong Kong. The image was taken in January and was used in the back cover of FOODSCAPE catalogue (published in March in the same year) for the Artspeak Gallery exhibition. This was the kick-off step of the FOODSCAPE collaboration project.

The newspaper clip: SCMP May 17, 1998, with a title "The poetic form of food and drink", subtitle: "Words and images creat a mouth-watering marriage of poetry and edible delights". A two third of a full page feature, an article written by Neil Nelson, on the FOODSCAPE II, an exhibition held at Goethe-Institut. The feature also includes three of Ka-sing's work, excerts from three of Ping-kwan's poems.

see also FOOTNOTES #15

at (A CLOSE-CROPPED) <a work from FOODSCAPE  series>  
"Discussing the relations between the sexes, in Tan Dao Coffee shop" (1996)

(HL) <Flip Book Project> (two original flip books)
"Making Tea at McDonald's ", "Clouds etc"
2 x 6 inch, height around 1 inch. (both are number Edition First of Two)

{Flip Book Project} (2011-2012)
"The idea of the Flip-book project was developed a few years ago. While mourning the slow fade-out of the analog medium, I feel constantly overwhelmed by the massive amount of digital images produced every minute and second of the day. Data, despite their huge presence, are invisible and untouchable without a technological device. Without the device, there will be no access to but only vague memories of whatever had been created.

Doing the flip-book is a rebellion, a revenge. By mere action of the thumb, a naive attempt to claim back small, chosen fractions of our memories. The process, though labour intensive, does lead to some interesting exploration on the characteristic and meaning of time. Time's relation to movement, the scale of time and the history of time. All so mysterious and philosophical, a question too deep, and too big to find an answer."

(Exhibition: Both Sides Now, at INDEXG, 2018)

<Postcard Folder> (postcards)

This folder holds about sixty 4 x 6 inch postcards HL+LK produced from 1982 to 1987.

<Poetry and Perception> (brochure)
5 x 10 inch, published on the occasion of an exhibition of Qiu Ying Shi Kan Exhibition 1986.

The poetry magazine Qiu Ying Shi Kan has gone through three stages of publication. It was hand written and printed in the early 70s. In 1985, it had adopted a large format (size), focusing on a few poems and paired with visuals from artists. It was off-set printed black and white on both sides. At the beginning of 1986, it evolved into an accordion style postcard size format. Each card containing a poem can be cut out and used as an independent postcard. For this exhibition original art from previous issues were on displayed with the published poems.

(Exhibition: The Chinese Cultural Promotion Centre, 1986)

<Qiu Ying Shi Kan Postcard> (poetry publication)
4 x 6 inch, length 31.75 inch. Designed as seven-fold accordion style detachable postcards.

Qiu Ying existed in the postcard format from 86 to 88. A total of 13 issues were published.

(HL) <Holly Lee selected photographs> (publication)
5.5 x 5.5 inch, colour, 24 pages.

Photo work booklet produced in 1996.

(LK) <Forty Poem> (monograph)
8.25 x 10.25 inch, printed full colour, 96 pages, cloth-bound hard cover. Published in 1998.

This compilation of photographs consists of two series of Lee Ka-sing’s work. Forty Poems and a suite of black and white work, from 1995 to 1998.

"The original idea of the Forty Poem series was to make forty 8x10 inch photographs as a suite. When all photographs are grouped together, it becomes a completed work. As it happened, I didn’t made all 40 photographs, finishing only about 30 pieces. In 1998, when I was working on the monograph Forty Poems (with publishing grant from Hong Kong Art Development Council), I edited the suite down to 20 works. The whole work was a unified piece about Hong Kong. It was exhibited at Tower Gallery in Yokohama, Japan.

The black and white photographs are from two bodies of work. One being a documentation of Hong Kong in 1997, organized by China Tourism Press. The second belongs to the Foodscape Project. These photographs have been exhibited in Hong Kong City Hall, Goethe Institut, and Asian Fine Arts Factory in Berlin.

(HL) <Nine Years> (poetry publication)
6 x 9 inch, 140 pages. POD published in 2020.

Holly Lee’s collection of poems from 2010 to 2018. The first book from the edocumenta series, it is available on the print-on-demand channel.

(LK) <Thirty One Photographs> (publication)
Exhibition brochure printed in full colour, 10 x 10 inch, 84 pages.

"During the decade from the mid eighties to the mid nineties, only a thin line existed between my commissioned work and my personal work. Perhaps, it was due to the influence of photographers such as Irving Penn and others. People come to you seeking your visual language, and, at the same time, you try to maintain within your own work your personal aesthetic philosophy and heart.
In 1993, I mounted an exhibition of works selected from my previous assignments. It was titled THIRTY-ONE PHOTOGRAPHS. Yau Leung of Photoart published the catalogue, Lilian Tang designed the publication, and the exhibition poster as well. Leung Ping Kwan wrote a long intro for the book, an essay he later turned into one of the Ten Chapters, of his book on Hong Kong culture."

(Exhibition: Hong Kong Arts Centre, 1993)

(LK) <De ci de là des choses> (publication)

"My De ci de là des choses series was originally produced for an exhibition in Paris in 2004. It was a collaboration with Hong Kong poet and writer Leung Ping Kwan, my photographs functioning as pairings to his poems in the exhibition. A suite of twenty works were made. Editions You-Feng published a 92 pages catalogue for the exhibition, included all images as well as Ping Kwan's poems in Chinese and the French translation."