The unique Malaysian national drink, teh-tarik, a concoction of black tea mixed with condensed milk and 'pulled' for the added zing and flavour, frothy top et al, is a daily ritual among Malaysians of various races from all walks of life. At make-shift roadside stalls and mamak (Indian-Muslim) restaurants, they are lively congregation points any time of the day. The figures, ordinary heroes, enjoying the cuppa or in a separate 'kitchen' window, are rendered in ambiguous overlapping shapes like anatomical models in an unusual obfuscation play of lines and colour tones. In the book, Sacred Altars (page 19), the scholar June Yap noted in Witness This: The Works Of Anurendra Jegadeva: "In Anurendra's sense of place that straddles continents, histories and cultures, there are many heroes - even common ones, and as many altars to worship them at. At the same time... it almost seems it is less specific heroes than the heroic... that is the ability (or perhaps destiny) to rise above the hoi polloi, to carve out a definitive history, one that is worthy of remembrance." From a rather tame first solo at the Petaling Jaya Civic Centre in 1992, Anurendra Jegadeva has been breathlessly consistent and trenchant in his works that delve into the Indian Condition, partly autobiographical. He uses figures in paintings, installations or text forms, to rail against socio-political problems. Trained in Law and Fine Art, he had a spell as a journalist among other jobs, and from 2007-2010 was senior curator with Galeri Petronas. He has been invited to take part in the Singapore Biennale. J. Anu is among the four Malaysian artists featured at the national pavilion in the 58th International Art Exhibition of La Biennale in Venice, Italy.