One is faint with ink lines obscured like the Angkor Wat monuments embraced by luxuriant growth until discovered by French naturalist Henry Mouhot in 1860; and the other work is of an ambiguous shape, thick with broad lines, tawny dark with dense little blobs and arranged trellis-like, with shadows or tendrils, like a spider spinning its web. “A sketch is not really to catch a floating moment, but the atmosphere. Not only what is there but also what isn’t there.” — Latiff Mohidin: Journey to Wetlands, and Beyond (Singapore Art Museum, May 2009).