Hamidah Suhaimi consistently highlighted Malay cultural heritage in her works, mostly in her métier pastels. Her works showed a combination of her two main themes, figuratives and cultural objects, in this case a vintage tray consisting of three roses beautifully rested on the metal tray. The woman gaze at one spot, perhaps she was thinking about something. The muted hues used in this piece is aesthetically pleasing to the eyes of the viewers. Hamidah Suhaimi was a religious teacher in Singapore. Self-taught, she espoused the portrait tradition, and joined Angkatan Pelukis Aneka Daya in Singapore under Syed Mahadar, and the Angkatan Pelukis SeMalaysia (APS) in Kuala Lumpur under the guidance of Dato’ Hoessein Enas. She later married Mazli Mat Som, the de facto No. 2 to Dato’ Hoessein and who later helmed APS. Two of her pastels, Kebaya (1970) and Aida (1971), are in the collection of the National Art Gallery Malaysia. She did not have any solo, but her recent-years exhibitions include Aku (Self-Portraits, 1999), Three Contemporaries (2012) and Salut 55 (2014).