Redza Piyadasa liked to play around with a similar pictorial decal but contrasted with different colours, and in this, he appropriated arguably two separate figures to pursue his identity theme, and that contrasting tradition and change. The woman in the pose of a matriarch is triplicated on the top half, but a natty man is inserted to stand by her side in the central panel below, presumably his son, who is just back from studies in England. He is dressed smartly in Western jacket and tie, with dandy well-pressed blue pants. There was something he held in his right hand but it was snuffed out, to exude a warm familial feeling. Batik designs popular in sarung hem in the portrait and the Pop-image panels are separated by coloured bars. The British had been in the Malay peninsular since the 17th century and first settled in Penang when it was leased by the Sultan of Kedah in 1786. Redza Piyadasa himself was among the earlier batches to be sent to England for studies, first at the Malayan Teachers College, Brinsford Lodge (1959) and then the Hornsey College of Arts (1967). After his British education, Redza Piyadasa did his MFA at the University of Hawaii, Honolulu, 1977. His awards included the Major Prize, Malaysian Landscape 1974; Minor Award (jointly with Lee Kian Seng), Salon Malaysia 1979; and the Prince Claus Award in 1998. He was a recipient of the Australian Cultural Award (1987) and the Japan Foundation (1992). He was an artist-in-residence at the Canberra Institute of the Arts, 1991. He was also co-founder of the Five Arts Centre (1983). In 2001, the National Art Gallery Kuala Lumpur accorded him a Retrospective.