Vivid depictions of Asian rituals, symbols and rites in rich hues are typical in Malaysian watercolorist Chang Fee Ming’s latest series of prints like the one featured here, The Naga King’s Daughter II, which is steeped in Chinese, Islamic and animistic influences.  Part of his ongoing solo show Imprinted Thoughts at the Singapore Tyler Print Institute, it revolves around the independent communities who live in remote parts of Asia, like those from his coastal hometown in the Malaysian state of Terengganu, to the rugged terrain of Tibet. He tells I-S more about this intriguing piece.

Medium: Watercolour, etching, relief print, screen print and pigment on stained STPI handmade paper.

What's going on in this image?
In this composition set in my hometown, we find the echoes of a multi-cultural existence-the lady's Muslim headdress, her modern floral-patterned baju, the Hindu-influenced bangau decoration of the sekoci alongside her [a bangau is a long-necked ornamental guard placed on the port side of traditional fishing boats such as a sekoci]. A pair of PAS [Pan-Malaysian Islamic Party] flags peek out from behind the bangau. The name "Langkasuka" is screen printed in Chinese text across the sky, taking the different forms recorded by Chinese chroniclers over the centuries.

What's the story behind this artwork? How did you get your ideas for these series?
I had long wanted to create a series about Langkasuka, an ancient Malay Hindu kingdom, first recorded by the Chinese in the 1st century [BCE]. It is believed to have covered [an area encompassing] what is today [parts of] northern Malaysia and southern Thailand and is said to be an ancestor of the Pattani culture. The title is taken from Stewart Wavell's account of the expedition he led to locate Langkasuka in 1963. The subject of my image is in fact a Malay lady from Besut, Terengganu, and the playful suggestion being that she too might be a daughter or descendent of the Naga King.

What does the work represent and how does it relate to the exhibition?
In this project, I had taken a step back from my subject, switching my role as storyteller to that of commentator and critic. The romance of traditional cultures enjoyed in my work, is cut here by subtle subversions and alternative readings, current affairs and issues, just as the exploration of printmaking has transformed the aesthetics of my watercolor medium. Combining a traditional medium and highly realistic portrayal situations helps me reconcile the often tragic contradictions of our time.

What kind of reaction are you hoping to evoke from viewers?
I hope that through my artistic expressions, people can discover a hidden gem in my beautiful hometown that predates popular Islamic culture.

Imprinted Thoughts is on through Nov 24. Singapore Tyler Print Institute, 41 Robertson Quay, 6336-3663. Free.