Tan Wei Kheng is a modern-day Penan warrior for chronicling in artworks real personalities of the once itinerant Penans deep in regular trips into the Borneon forests. Like the Kelabit, Bisaya, Murut and Lun Bawang, the Penans live on the natural resources of the land but both flora and fauna have been decimated through increasing encroachment and development especially by logging and construction of hydro-electric projects. Wei Kheng met Jun Brim in her village Long Napir in Ulu Limbang, near the Brunei border and some 606km north-east of Kuching, in 2009. She strapped on a wicker carrier over her shoulder as she headed out to pick wild vegetables in the jungle, and donned a loose shirt for modesty. Her fingernails were blackened from the hard work. There were streaks of grey hair on her head, but it was just another day. Her husband had gone out to hunt for animals. Long Napir consists of four settlements of the Penan and Kelabit people — a 2007 census put the population at 166 adults and 134 children, but the place has to make way for a hydro-electric dam project in the upper Limbang river. Self-taught, Wei Kheng is extraordinarily talented for his compassionate portraits of the unseen tribal people in the interiors. He first worked as a ceramist but decided to concentrate on painting especially after a sold-out exhibition, Nostalgia Of Tribal Borneo, in his solo at the Gallery Avanthay Contemporary in Zurich, Switzerland, in 2009. His earlier solos were at the Miri Boat Club (1991), Hilton Hotel Kuching (1992), Holiday Inn Miri (1993), Rihga Royal Hotel Miri (1994), Hornbill House Miri (2001), Art House, Kuala Lumpur (2003), Penanga Club, Brunei (2009), and Metro Fine Art, Kuala Lumpur (‘Tong Tana’, 2012). Richard Koh Fine Art presented his solo, Art Language Of The Jungle, in 2014.