Postscript 1

Postscript 2

In the past few days, I was shocked by blog posts of the Administrator of the Residency I attended several years ago . While these blog posts purported to be in support of my co-artist (deceased) in that Residency, they turned out in the end to be attempts at assassinating my character and invalidating my work. One’s work is the product of one’s mind. Still reeling, I take refuge in the words of one of my favourite Sufi mystic poets Saadi of Shiraz :

‘No one throws a stone at a barren tree.’

I would really love to hear from anyone who wants to write to me about whatever I have said in my blog posts concerning my time at Rimbun Dahan. I would love to hear something positive which will balance my experience there. I must be allowed the self-respect to state my case, and to tell my story honestly, without being abused.

Renee, my co-artist was not a close friend; but she was not an enemy either. She was my student when she was 17. And to me, she was by that time, already a mature artist; everything seemed to have gone downhill from there. I kept two of her drawings for the 30 odd years we were apart and returned them to her when the Residency was over.

During that Residency, Renee’s personal struggles were exacerbated by menopause (Renee was 51) and her deteriorating health. This affected her performance and her confidence. She lost ground and she left the Residency. Unfortunately, the physical and mental state she was struggling with was exploited by others, in support of their own domestic and social conflicts. The Administrator of the Residency used Renee’s vulnerability to prove her point: that Malaysian women don’t get on. Once Renee left the Residency, every request I made to the Administrator for us to meet, to talk; every request for contact with Renee was denied.

In retrospect, I regret the intensity with which I plunged into painting, and if I could go back in time I would try harder to be there for her. But the excitement of painting outbid everything for me. Although the conditions were inadequate, I was, for the first time in my life free to paint non-stop and I did just that. I was the oldest of the three women at the Rimbun Dahan Artists Residency and I should have paid more attention to the problems under my very nose of two women who were going through the most difficult time in women’s lives: the menopause. I went there to paint; and I never considered expending my energy elsewhere than on painting. .The terrible accusations and unexpected behaviours I witnessed, came as a shock, plunging me further into painting.

We can only see the whole at a distance; sometimes we can only assess hurt and the harm done to us in time. It might help if we understood the source of hurtful behaviour, even if there’s nothing we can do about it.