The outside light on the window draws attention to the abject living conditions inside the claustrophobic room with four half-naked figures wallowing in self-pity. The stark monochrome aura adds to the negative vibes of despair, self- doubt, sloth and irritability, with the only bright spot being the rhomboid patterns of the sarong. Ah well, maybe a little divine intervention from the Hanuman-looking idol on the top far left could help change their fortunes. The figures are rendered in the same Gaugainesque fashion as when multi-disciplinary genius artist Wong Hoy Cheong just returned from achieving a double Masters in his studies in the United States. Same light afforded by the abject living conditions rhomboid angularity. This work was shown in the exhibition, Selected Paintings And Drawings 1982-1991, at The Gallery, Theatre Works, Fort Canning Hill, Singapore. Wong Hoy Cheong is one of the country’s most international high profiled celebrated contemporary artists with solos all over the world, and even a retrospective in Taiwan. He is known for iconic works / installations such as Sook Ching, Lalang installation (1987), Of Migrants and Rubber Trees (1994- 96), The Colonies Bite Back (2000-2001), Tapestry Of Justice (1998), The Definitive ABC Of Government (1999), and his breath-taking Re:Looking (2002-2003), besides invitations to biennials / triennials all over the world. He took part in the 50th Venice Biennale in 2003. He studied for his Masters at the University of Massachusetts, Amherst (Fine Art, Painting) and Harvard University, Cambridge, Massachusetts (Education), and received his Bachelor of Arts magna cum laude at the Brandeis University, USA, in 1982. He won the Australian Cultural Award in 1992. Artist, activist, educationist (England and Malaysia), and critic.