To the modest fishermen, the good ole’ jetties are points of departure and beacons for returning. To Awang Damit Ahmad, they represent the risk albeit with a sense of adventure, and also an accomplishment of the day’s task, to be touching land again, even if it is a panoply of planks. Jetties are imbued with memories, of good and bad catches, and sometimes a prayer to have survived perilous experiences on the boat at sea. The composition is driven by a slanted white bar running down the middle, with modulated textures in a grey veneer and with pockets of red and light blue hues. Over time, the jetty becomes a nostalgic register and a marker in one’s journey when life was tougher. Awang has done another jetty work, double the size, in 2000/7 besides Pengkalan Senja (2002) with obvious twilight elements, and all centred around his hometown of Kuala Penyu in Sabah. The Marista works represent a more structured, refined and elegiac phase from his Essence Of Culture series.