Early 20th-century wedding photographs are replete with tacky things like pseudo Anglo classical artefacts or traditional Malay regalia complete with headgear and keris, in this case even with an incongruent pot of yellow flowers. Redza Piyadasa had made several versions of this wedding potpourri like in Malay Couple Johor and Nyonya Serenade. The pictorial play of figures was a dramatic about-turn from his erstwhile denigration of figurative art espoused by the Angkatan Pelukis SeMalaysia of Dato' Hoessein Enas. Previously, Piyadasa had been noted for his Conceptual Art stances as seen in the exhibition, Towards A Mystical Reality (1974), with Sulaiman Esa. After seeing the black-and-white photographs in the Twentieth Century Impressions of British Malaya (1908) book, he realised the rich vein in photography, as historical documentation, with whiffs of nostalgia. "When I found the book had so many nostalgic photographs, I realised here is a way forward for me... I loved transferring some of these images of Malaysia multicultural realism." In the year 2000, Redza Piyadasa was accorded an overview (1962-2000) exhibition by the National Art Gallery. The year 1974 was the coming-out year for Piyadasa with the Towards A Mystical Reality exhibition and his jointly winning the Major Prize in the Malaysian Landscape competition in 1974, with Lee Kian Seng. On the international scene, he won the Prince Claus Award (1998), Australian Cultural Award (1987) and the Japan Foundation Travel Award (1992). He was also artist-in-residence at Canberra Institute of the Arts in 1991. He was also a co-founder of the Five Arts Centre. He was educated at the University of Hawaii (MFA), Hornsey College of Arts; Malayan Teachers College, Brinsford Lodge, Wolverhampton, Britain; and the Specialist Teachers Training College, Kuala Lumpur.