21/09/2025

ON SUNDAY September 21, 2025 theSunday Special III

work and she wanted to offer something accessible without diluting the value of the original prints. “I’m grateful that my work resonates with people who relate to its themes of self-love, vulnerability and emotional complexity. That connection has allowed me to sell just enough to stay afloat without incurring losses. But for the most part, I’m thankful for people who genuinely love me because they first loved my work. Over time, they became close friends. They helped me move from my tiny apartment to a bigger space so I could have room to make more art. They showed up during some of my darkest moments, especially when my mental health was slipping,” Chong recalled. Chong thinks that our local art scene is slowly getting better, but it’s still made up of the same familiar faces. For the arts to truly flourish healthily and sustainably, we require a broader perspective. The government and policymakers need to truly understand how art shapes a nation, how it reflects and nurtures our collective identity. Until then, we are just doing what we can within our little ecosystems, hoping the ripples reach further. “The most courageous thing I’ve ever done wasn’t making art or putting my work out into the world, it was learning to reach out for help. There’s a quiet kind of strength in admitting you can’t do everything alone. Whether through art, conversation or connection, I hope we all find spaces where we feel safe enough to be seen and brave enough to ask for what we need.” With that, the artist left a reminder that courage often begins not in grand gestures, but in the simple act of reaching out.

100 Pages of Solitude

That’s when I realised I had stepped into something bigger than myself. What began as journaling turned into a book. From there, it evolved into a wider body of work that I’m still building on today,” she shared. The artist employs a range of styles and approaches in her art practice, extending beyond drawing Sanguinella, the red haired girl. Having an art identity helps the audience remember the context of an artist’s work. It is important, but should not limit expression or the evolv ing process of creating art. Chong’s perfect balance of darkness and playfulness in her artworks reflects the truth of being human. I nner conflicts can be deeply uncom fortable, but they are essential to personal growth. Her work often resides in that tension: Acknowledging the heaviness

while also trying to soften it with a touch of humour or tenderness. The playfulness in her work is a self-mockery. It is her way of lightening the emotional load, of find ing small moments of relief in the midst of confusion or pain. Humour becomes a survival tool, a quiet rebellion against the weight of things. And in that process of acknowledging both the darkness and the absurdity, Chong often finds a kind of truce within herself. “At the moment, I’m collaborating with Enoku, a social enterprise that supports Persons with Disabilities and employers in building inclusive, diverse workplaces. Together, we’re working on organising Malaysia’s first inclusive art and music festival, which is currently set to take place in December. It’s a meaningful initiative that brings together creativity, accessibil ity and social change. I’m also focusing

on expanding the world of San guinella and working

on concept development for a graphic novel series. I’m in the early stages of approaching international publishers, hoping to bring this deeply personal and poetic universe to a wider audience,” she said, hopeful. Running an art business re quires a proper system, just like any other business. While Chong does produce merchandise, such as prints, postcards and figurines, much of it is still driven by curios ity and requests from a small but deeply supportive group of followers. For instance, she started creating postcards be cause people wanted to collect her