An established practitioner within the Malaysian art scene, Lee Kian Seng was one of the first to experiment with installation art. Kian Seng’s extensive oeuvre encompasses a wide range of genres comprising installation, printmaking, batik, and sculpture. Waiting For The Pigeon demonstrates Kian Seng’s imaginative and bold interpretation of a village scene with sharp contrasts of light and dark colours. A young boy is feeding a flock of pigeons amidst a gleaming, magical landscape enveloped by a golden light. From 3rd Prize in the Malayan Open art competition in 1964, Kian Seng has not stopped amassing laurels - 3rd (sculpture) and 3rd (mixed media) in the Salon Malaysia in 1968 and Major Awards in Painting and Graphics in the 1977 edition; Major Award Malaysian Landscapes 1972; Major Award in the Bakat Muda Sezaman 1975; culminating in the international Creation Award of Japan in 1993. He represented Malaysia in the 1984 Square Sculpture Symposium in Jakarta (Peace, Harmony and One) and the World Expo in Osaka in 1970. At home, his monumental sculptures include Vision 2020 and Millennium. He is also the pioneer of installation art in 1972, when it was not named as such yet.