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Discovering ART in DREAMS,
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May 26, 2014


Discovery - Solo exhibition of Shireen Lee, which has been held successfully at Lobby Gallery of The New Straits Times Press (Malaysia) Berhad in Bangsar, Kuala Lumpur on April 2014, is brought to be exhibited at Galeri Seni Rakyat (Folks Art Gallery) Jalan Laksamana, Melaka by Perbadanan Muzium Melaka (Malacca Museum Organization) from 6th May till 8th June 2014.

The exhibition was launched by Y.Bhg Datuk Lim Chow Beng, Director of Malacca State office of Ministry of Tourism and Culture Malaysia during an opening held on 9th May 2014. It is one of the initiatives of Pengurus Besar of Perbadanan Muzium Melaka, Y.Bhg Datuk Haji Khamis Bin Haji Abas, to promote and appreciate the artworks of local artists in Malaysia.

Please click the link below for further reading. Thank you

visitors and guests who attended the opening.

Gift to VIP of opening, Y.Bhg Datuk Lim, and witnessed by 
Y.Bhg Datuk Haji Khamis.

Painting from artist for the permanent collection 
of Melaka State Art Gallery.  

Interviewed by press.

Explaining concept behind the artworks.

Staffs from Perbadanan Muzium Melaka who has contributed
their effort in organizing the exhibition.

Photo with curator of Persatuan Peminat Lukisan dan Kaligrafi Sim, 
Mr. Sim Beck Ghee.

Mar 11, 2014


DISCOVERY - Solo Exhibition of Shireen Lee 

will be held from 1st to 30th April 2014 at Lobby Gallery of The News Straits Times Press (M) Bhd., Jalan Riong, Kuala Lumpur.

This is her 4th solo exhibition that will be held for the first time in Kuala Lumpur, Malaysia. 2014 marks the 10th year of her career in art circle. For an artist, ten years is relatively a short period of time. For Shireen, it is just another beginning from here onwards in achieving greater maturity in her future artworks

The one month event will be officiated by Puan Aminah Abd Rahman, Chairman of Malaysian Watercolour Society (MWS), on 12th April 2014 at 2 p.m. The exhibition is a showcase of 30 artworks painted in various media from the series of 'Discovery of Memory', 'Discovery of Nature' and 'Life Is Going On'.  

Mohammad Azlan Abdullah, Chief Executive Officer of The News Straits Time Press (NSTP), in his invitation letter stated that " Her collection seeks to incorporate a new approach in conventional art. With mix medias, she utilizes her medium to great effect by introducing surrealistic interpretation to flora and fauna. A treat to art aficionados, her great work brings distinct colours and patterns to the fore.......the collection proves that there are more sides to a seemingly fixed matter......".

According to Muhammad Noraznan bin Nayan, Executive Copywriter of NSTP, "Utilising mixed media, Shireen have moved away from her early methods, where she strives for realism, transferring what she sees onto canvas...... Her current approach is all her own, it is a surrealistic portrayal of Nature...... One would come to admire the interplay of colours, patterns and dimensions." 


In conjunction with this event, an art booklet is published. Selected paintings printed in this book are representative work of Shireen Lee completed in different period of time. It is through 'Discovery' solo exhibition, Shireen hopes public could discover and understand her different perspective in seeing things and presenting thoughts. Life experience and growth do influence her journey as an artist. For Shireen, she always has new elements to discover, experiment and develop in creating more creative artworks.

Public are welcome to visit the exhibition at Lobby Gallery of NSTP, Jalan Riong, Kuala Lumpur, Malaysia. Exhibition is open daily from 10 a.m. to 6 p.m.  from 1st to 30th April 2014. 

For enquiry and arrangement in meeting artist, 
please call 019-2332565 or email to

SHIREEN LEE - Discovery
By : Mohammad Azlan Abdullah 
CEO of The New Straits Times Press (M) Berhad

On behalf of The New Straits Times Press (Malaysia) Berhad, it is my pleasure to introduce you to the paintings of Shireen Lee. Her upcoming Solo Art Exhibition entitled 'DISCOVERY' is without doubt, a great introduction to surrealistic art. Scheduled for April 2014, it is a magnificent event that you should not miss.

Her collection seeks to incorporate a new approach in conventional art. With mixed medias, she utilizes her medium to great effect by introducing surrealistic interpretation to flora and fauna. A treat to art aficionados, her great work brings distinct colours and patterns to the fore.

The interplay of colours, perspectives and dimensions is a wonder to behold. Shireen's mastery of it brings a unique quality to an otherwise common depiction.

All in all, the collection proves that there are more sides to a seemingly fixed matter. An open mind and a willingness to break the mold will lead to a greater understanding of the world around us.

In Quest of a Dream Other-World

By : Ooi Kok Chuen, writer and curator

SHIREEN Lee's Discovery is both a record as well as a self- revelation of experiences, memories and expressions of her past and present, that somehow morphed into a personal Shangri-La.

Her real world is idealised by a placedness and nostalgia to a lost Time - principally her growing up in Seri Kembangan in Selangor, then a New Village, where the Chinese worker group was repopulated into cluster zones for easier governance. The villages also acted as a buffer against communist influence and intimidation, during the Malayan Emergency in 1948 and thereafter.

It is from this undeveloped and underdeveloped rural community in her growing-up years that reveals her affinity with Nature. This can perhaps be gleaned in her 1World template where there is no distinction between Sky, Earth and Water and where there is no Horizon.

Her credo is not about the Survival of the Fittest, but that of a happy co-existence of all life-forms - birds both in flight and perched like the Yellow Bird that referenced Paul Klee; creeping and flying insects; marine creatures; wild and domestic and domesticated animals; plants, flowers and trees; the symbolic lotus - each snug and smug in its own private domain, with nary a phobia of any intrusion or distraction.

 Ditto, her verisimilitude works of broken but stout tree branches embellished  with parasitic ferns and creepers, showing her adeptness with watercolours despite her being self-taught and her relatively short time of art practice.

In one series, typical New Villages makeshift homes are placed in camera focal zones, hinting at a flashback to a time when life was simpler perhaps, though much tougher - without all the material comforts of this globalized present.

There is another strand in Shireen Lee's art narrative - that which she uses more contemporary idioms - in still-life collage and in a hodge-podge composition of symbolic images. Here, the veracity of printed text and images is nuanced with the painted images both as symbolic and designing elements. Her neat uncluttered and near-meticulous compositions in her still-life works and the New Villages are the only clues of her training in town-planning and urban design.

While Shireen Lee herself professes to being much influenced by Tan Tong (1942-2013), much to her credit, she has taken her mentor's strictures on aesthetics and philosophy only as guidelines to create new vistas and vision of expressions and self-discoveries. Her earlier mentors were Tang Hong Lee and the Nanyang Academy of Fine Arts-trained Tan Sik Yaw she had been keen on art since her primary-school days right up to her studies at Universiti Teknologi Malaysia. But it was her exposures to Japanese arts and culture, during her stay in Fukuoka from December 2009 to March 2012, that add a new maturity of concept and handling in her works.

This landmark solo exhibition, her first in Kuala Lumpur, marks Shireen Lee's 40 years of age and more significantly, her 10 years since actively being involved in the art circle, but it is by no means a destination or her having arrived. More so, it is a breathing space and important transition, and a tantalizing glimpse of what she has to offer. What is most edifying is her spirit of adventure, a single-mindedness to strike out on her own, to find and fulfill her own identity and destiny.

Shireen Lee’s Solo Art Exhibition

By :   Muhammad Noraznan bin Nayan, Executive copywriter of NSTP

Passage of time often becomes the precursor or arbiter of change. This resonates clearly in art as time acts as the agent of transformation, aiding in the maturing process of a painter and his or her creative process. Breakthroughs, the ebb and flow of inspiration, these came when we least expect and after much reflection and experience. A decade in the making, Shireen Lee’s career started in 2004 and her newest collection is the sum total of her evolution as a painter.

DISCOVERY is a culmination of a lifelong journey; one that is dominated by experience and influence. Shireen’s mentors and a stint in Japan have transformed her perspective and approach to art. Her craft has evolved to the point where she is no longer confined to any medium and fixed interpretation. Utilising mixed medias, Shireen have moved away from her early methods, where she strives for realism, transferring what she sees onto canvas.

Nowadays, composition and research took much of her time. This in turn, brings about a considerably more nuanced interpretation, a synergy of her composition and analysis based on the subject matter at hand. Her paintings reflect her emotions and unique interpretation. Her art takes a significant departure from realistic conventions. She no longer mimics real-world perspective and dimensions. Her current approach is all her own, it is a surrealistic portrayal of nature.

Nonetheless, Shireen’s work is still rooted in the real world. The subject matter has always been nature and the places she have visited. Upon research and composition, she proceeded to experiment with angle, perspectives and colour. Among her unique touch, she employs double rectangular lines to simulate viewing from a camera. The edges of the paintings are also blurred so as to drive audience’s focus to the centre, again, mimicking the way one utilizes camera to capture the environment.

Her surrealistic approach is more apparent in her portrayal of a natural setting. For instance, she portrayed tsunamis and fishes in distinct colours and patterns. Their dimensions are heightened, the scene above and below the surface are thrust to the forefront. One would come to admire the interplay of colours, patterns and dimensions.

Amid the complexity, Shireen’s command of the medium is clear. The interplay of colours, the arrangement of the scene evokes an admiration for her skill. At the same time, the surrealistic approach implores the audience to ponder and reminisce.
However, Shireens’s collection shouldn’t be taken at face value. While it’s artistic merits are undeniable, it also speaks about the diversity of interpretation. Art, in essence, is a lense through which we view the world. Take a step into Shireen’s creations and we will experience a journey like none other.

Mar 4, 2014


Solo Show – Turning Point: 2010-2013 Selected Artworks of Shireen ...

To 'Turning Point' and back

- A Solo Exhibition of Shireen Lee

ARTIST ARRIVES: Fresh from her sojourn in Japan, Shireen Lee unveils the remarkable body of work accomplished during her residency in Fukuoka

JOHOR BARU: ARTIST Shireen Lee's residency in Japan began in December 2009. It was during her two-and-a-half-year stay in Fukuoka that she developed her own unique painting style.
A series of landscape paintings entitled Discovery of Memory in mixed media, a representation of memories in her hometown Seri Kembangan during her younger days, is among the remarkable body of work she accomplished in Japan.
Her solo exhibition Turning Point: 2010-2013 Selected Artworks of Shireen Lee unveils her work in Malaysia for the first time since her return from Japan.
About 30 paintings in various media are showcased in the exhibition held until Oct 30 at Old Street Studio, 52 Jalan Tan Hiok Nee, here.
Lee had been invited to display her work at the studio at the beginning of the year, which was when she started planning and selecting the pieces to meet the theme "Turning Point".
"My stay in Japan has brought me fresh energy and a new perspective to my art career.
"It was a turning point in my painting style and way of presenting ideas," said Lee.
The event is a prelude to her solo exhibition at the NSTP Gallery in Kuala Lumpur next year.
Her mentor, the late Tan Tong, said this of her: "The flourish of her art in this series is pure visual delight. Her latest landscape paintings are of dynamic colours; the shapes and forms are a clear mix of the mysterious and surreal in nocturnal settings which are stimulating and exciting."
Lee, born 1973 in Kuala Lumpur, graduated with a degree in urban and regional planning from Universiti Teknologi Malaysia in 1997.
Starting with watercolours at the age of 10, Lee now paints in various media including oil, acrylic and mixed.
Lee made her debut in the local art scene in 2002.
Old Street Studio is open from 11am to 6pm on weekdays and from 11am to 10pm on Saturdays.

See the selected works of Shireen Lee at Old Street Studio. 
To read more, please click the following website

Read more: To 'Turning Point' and back - Johor - New Straits

Reported in Malaysia local press.


Written by Shireen Lee
Published in Senikini Malaysia art now issue #21, year 2014
Published by National Visual Arts Gallery Malaysia

Tan Tong (1942 - 2013)

Meeting Tan Tong is a chance encounter. It was in 2004 at City Art Gallery Kuala Lumpur where he had his solo exhibition ‘China Year in France’. The exhibition had ended by the time I arrived but Tan Tong was there with the gallery owner. Thing started with my first greeting to him. I called him ‘lao shi’, a Mandarin word which means teacher. He seemed happy with a satisfied smile - the beginning of our mentor-student relationship.      

Tan Tong lived in Paris from 1964 to 1975 on a French government scholarship to study at the École Nationale Supérieure des Beaux-Arts (ENSBA). He was one of the earliest Malaysian French-trained artists who graduated with Diploma (DSAP) in painting and drawing, and was awarded the ‘La Fondation Rocheron’. Living in Paris was a bittersweet experience for him as what we can read from his ‘Tan Tong – A Touch of French’ written in 1991.

Back from Paris, Tan Tong was the registrar cum senior lecturer of Malaysia Institute of Art (MIA) from year 1977 to 2002. He had educated thousands of students from all over Malaysia. With strong personal characteristic and artistic charm, Tan Tong was an iconic lecturer of MIA. His passion for art was not confined to painting and drawing, but including education, art analysis, theoretical research, philosophy study, literature, symbolism, geometry, aesthetic and others.

Tan Tong’s fastidiousness and directness in life and art reflects his earnestness and honesty towards people and living. Occasionally, some artists might stay away from him in art exhibitions as he used to criticise artworks publicly. He did it for the goodness of artists in general. Unfortunately, not many people could accept it and understand his sincerity. For Tan Tong, as an educator and a French-trained senior artist, he had the responsibility and authority to voice. He is a lonely fighter in Malaysian art scene for few people could understand him and his art. Tan Tong had an interesting answer for this, ‘….because they do not read and have not attended my lecture.’  

I lived in Johor Bahru from July 2005 to November 2009. It was a must for me to visit Tan Tong every time back to Kuala Lumpur. Besides enjoying meals, every visit turned up to be a lecture for me eventually. He explained his thought, composition and philosophy behind his artworks in hours patiently. Every explanation ended up with a question, ‘understand ?’. Listening to his ‘heavy-duty’ lectures did sometimes make my brain jammed, yet I enjoyed and appreciated it.

November 2006, we joined a trip to Silk-Road in China. Began from Xi’an , we travelled to Gansu province, Shaanxi province, Hubei province and Xing Jiang autonomous region. The air was chilly. Along the trip, Tan Tong, an asthmatic, wrapped in thick winter clothes and gloves had never stopped sketching and noted down every single details of what he saw. Meanwhile, I carried his big and heavy sketchbooks and took photos of him besides making my sketches and the most important thing was that making sure that we would not be left too far behind the group members. It was a restless trip for Tan Tong. He needed to take medicines in order to gain strength for the next day journey. 

Nothing much I could hear from Tan Tong from December 2009 to March 2012 as I resided in Fukuoka, Japan. Nothing was mentioned regarding his health and condition in his letter to me. I was surprised to find him skinny and weak after returning Malaysia. Even he was spiritually strong, there was no longer any ‘heavy-duty’ lecture and eat out. Tan Tong fought against his illness with brave soul and creative mind. He continued painting and writing with all his strength. Living near to Kuala Lumpur, my visit to him became more frequent. We spent time chatting on all topics including art in hospital. We had our meal in hospital café or enjoyed food in lunch box at his house. I were grateful that I managed to be with him, to help him in some ways during his final year….       

In fact, Tan Tong had not only pursued and re-calibrated the Cubism of Pablo Picasso, he had earlier developed Yin-Yang series using western techniques on Chinese painting scroll in 1990’s. He combined the elements of I-Ching (Book of Changes), Taoist principles of space and nihilism, ancient Chinese scripts and Chinese History with his own quotations and notes, simplified forms and stylised subjects to create his own abstract and surrealistic Cubism paintings. The more one sees his painting, the more one wants to know him and his art. Looking at his artworks, one could feel Tan Tong’s enthusiasm for his paintings. In order to complete research on his painting subjects, he risked his health and life to travel far away to Paris in France and Xi’an in China to search for inspirations, re-visit his hero (Picasso) and heroine (Yang Kwei-fei).

Tan Tong's painting entitled Artist and Model I (80cm x 100cm Oil)
The artist is represented by the palette and the model is Yang Kwei-Fei.

Despite of his unhappy personal life and poor health, Tan Tong lived for art seriously and heartily. He devoted himself to painting, a genuine fighter for art and life. He used to say, ‘I have a lot to paint and develop. Painting is never finish for me.’ He loved his paintings more than himself. He knew to take good care of his paintings more than his health. One will never understand the inner self of Tan Tong if you have never listened to his heart as if one will never understand his art if you have never seen his painting with heart. Tan Tong was a remarkable artist of his time in Malaysian art scene who had left us his creative art pieces for further research. Homage to you, my mentor, my ‘lao shi’.      

Apr 8, 2013


Article Featured in Magazine 

Art Malaysia Issue 22 

(page 70 - 79)

on March 2013

Art Malaysia published by Dunia Seni Lukis Sdn. Bhd. (726322-U) is a magazine of contemporary art, culture and travel. It has been published since July 2009 to create an interactive platform to promote the finest artwork of Malaysian emerging & known artists, in order to gain the recognition they deserve. 

For more info, please log on to


Born 1973 in Kuala Lumpur, art has been Shireen’s passion 
since her schooling days. In the 1980s she studied watercolour 
painting from artists Tan Sik Yaw and Tang Hong Lee. 
“Fundamental study and training in the Nanyang style of 
watercolour painting from Tan Sik Yaw in my early age has 
led me to explore subjects and themes on nature and the 
environment in the beginning of my art career,” says Shireen, 
“However, sketching skill and knowledge gained from the 
study of urban design in the University of Technology Malaysia 
affected the development of my painting techniques and 
concept.” Shireen graduated in 1997, after which she worked in 
the development industry. 

When her career was interrupted by the economic downturn, 
Shireen then opened an art centre in 1999 with her friends, 
until 2004 when she decided to be a full-time artist: “I had the 
initiative to have my own career in art, when I ran the centre I 
didn’t have much time to paint as I spent it mostly to teach. The 
free time I had was used to paint, starting from watercolours.” 
In her early days of exploring the medium, Shireen painted 
sceneries before deciding on a theme of ferns on broken or 
fallen tree trunks in the Life is Going On series. Within those 
paintings she would include insects such as bugs and ladybirds 
as symbols of life: “LIFE is going on, regardless of difficulty. 
It is about the continuity and succession of life.” Things 
changed after a coincidental meeting in 2004: “Artist Tan Tong 
encouraged me to start oil painting and inspired me through 
Western art. He became my mentor in Western art history, 
theory and techniques of oil painting. With influence from Mr. 
Tan Tong’s unique abstract surrealism style, together with 
inspiration from Paul Klee’s Yellow Birds, I have developed 
my ‘Discovery’ series. It depicts nature in a nocturnal mood, 
with the vivid colour of floral and fauna. The concept is of living 
creatures communicating and appearing in their own ways that 
may be beyond human knowledge, to highlight in a positive 
approach the neglect of harmony with our environment by 
modern people.” 2004 was also the year of Shireen’s debut in 
the local art scene, participating in the now-defunct Malaysian 
Artists Association. “The transition of watercolour to oil 
painting to mixed media reflects my thematic transition from 
the literal; scenery, to my own life.” 

City at Night (2008) 
Mix media on paper
 57cm x 76cm 

Shireen then found inspiration in Joan Miró’s The Farm, and 
began to develop her own farm with Malaysian elements: 
“I brought kampung scenes and the nostalgia I had for my 
hometown into my paintings, and added in red rectangular 
boxes to represent a ‘zooming’ of the mind to have a clearer 
focus on memory. It is a series of reminiscence and recall 
of childhood memories of the peaceful and undeveloped 
countryside in my homeland. The red lines bring a different 
tone and depth to my painting.” Shireen is still exploring this 
visual theme of nested red frames and geometrical lines, and 
plans to explore new techniques to further the message of 

From 2009 to 2012, Shireen moved to Japan, following her 
husband who was continuing his studies there. Shireen took 
the opportunity to pick up the Japanese language, and while 
in Fukuoka she began to explore mixed media painting and 
became involved in the Japanese art scene: “I had two solo 
exhibitions there and participated in their city and prefectural 
art competition. I had to learn Japanese to communicate with 
their artists and understand their art, so two years was in fact 
a very short time.” Her two solos in Japan were Life is Going 
On at the Fukuoka Chuo Bank Ltd, and Discovery of Memory at 
ACROS Fukuoka, both in 2011. 

Currently, Shireen’s mixed media comprises gouache on oil 
or acrylic (she has also explored collage mixed with charcoal, 
pastel and pen). There was some contention in her use of 
gouache: “Some say my art has a Japanese influence as 
gouache is not accepted as watercolour in Malaysia whereas 
in Japan it is. As I paint Japanese sceneries, some say my paintings have an 
oriental flavor. I like Ukiyo-e and Nihonga (Japense woodblock prints and 
Japanese-style paintings), with zen lines and simplicity. They have different 
kinds of perspective in Ukiyo-e where the lines are fine and simple, so this is 
something I want to explore and combine with Western art to create my own 

On the way to Pagoh (2006) 
Oil on Canvas and Board 
21cm x 30cm 

“The transition of watercolour to oil 
painting to mixed media reflects my thematic transition from the literal; scenery,
to my own life.” 

“My current theme needs thinking; howto construct the space and colour scheme...
it is no longer what you see being whatyou paint.” 

On the left
Your World My World (2012) 
Oil on Canvas 
54cm x 73cm 

On the right 
Above and Beneath the Surface #1 (2010) 
Mixed Media on Paper, 57cm x 76cm 

(Selected in the 67th Japan Fukuoka Perfecture Exhibition 
2011. Artwork was exhibited in Fukuoka Perfecture Art 
Museum, Kyushu, Japan) 

Japan not only played a role in her art, but also her perspective as an artist: 
“The mindset, culture and the art acceptance in Japan is different compared 
to Malaysia. They easily appreciate art, exhibitions are well-attended, and 
although they may not buy art, they support it. Even for large exhibitions in 
museums with high entry fees, the public is willing to queue up to see the 
artworks. Response is terribly good! The Japanese like to explore mediums 
and genres and the public accepts new things easily. Here, people take a 
long time to notice and an even longer time to appreciate it. Japanese manga 
is also very famous, an example of how they bring their culture into their 
artworks. This is especially obvious in Nihonga.” 

“Japan also welcomes international artists; during my two solos there, 
viewers would try to understand my country based on the colours and 
themes in the artworks. Thats why I always use warm and strong colours, 
so they say my country is very sunny and green! I applied for my solos, 
competing with other Japanese artists, so it’s solely based on the quality of 
my artworks. Communication is key in japan, to understand their culture, 
technique and thinking. That’s why I spent a year to learn the language.” 

Shireen enjoys each step of the painting process, “From the starting point 
of the idea to how I’ll express and construct it, to paint it until completed... 
When I paint, I can even forget to eat! It is satisfaction for me to complete a 
piece, but to reach that stage is not easy as it needs a lot of thinking, hard 
work and research. Thats why I wanted a change; to paint scenery is easy 
as long as you have the technique. But my current theme needs thinking; 
how to construct the space and colour scheme... it is no longer what you see 
being what you paint. So it is a process, and the achievement of completing it 
is the prize. I will redo a piece until I can reach my vision. But imagination is 
also based on reality, so it is half-half, we need to combine these elements. 
It is not simply purely what one imagines.” 

“For example, in this Discovery series, I won’t merely draw what I 
see with bare eyes. I will try to change and develop it, starting with 
sketches and concepts, to collecting materials: photos, articles and 
such, then I will sketch the idea before putting it on canvas. All these 
things take time, maybe it is something between art and science; we 
need art and technique, at the same time we also need logic.” 

Shireen has plans for a group show at University Malaya and a solo 
show at the NSTP, either in 2013 or 2014. “Perhaps in the two and a 
half years that I was away, some may see me as a new artist again. 
But once they see my profile and paintings, they will know I’m not 
that new but also not that old! I plan to participate in a lot of events, 
especially with new galleries.” Shireen remains optimistic: “I will 
keep painting, the vision is to create better artworks and be more 
established career-wise. Most of all to do my best. Life experiences 
and growth changes one’s perception and widen one’s knowledge. 
More elements are going to be discovered, experimented and 
developed in my future paintings. I always take my ‘half-self-taught’ 
art background as a challenging starting point towards creating new 
dimension for my artworks.” 

Visit for more details. 

“Life experiences and growth changes one’s
perception and widen one’s knowledge. More elements are going to be discovered, experimented and developed in my future paintings.” 

The Aquarium (2010), Oil on Canvas, 90cm x 110cm 
(Selected in the 45th Fukuoka City Art Competition & Exhibition 2011. 
Artwork was exhibited in Fukuoka City Art Museum, Japan) 

Discovery of Memory (2010), Gouache on Card Board, 64cm x 116cm 

By : Editor of ArtMalaysia, Nikki Liaw.