I have been working on this mixed media painting for the past ten days. It is of an Iban woman wearing a traditional costume called “ngepan indu Iban.” The piece has elements such as the sugu tinggi headpiece, the marik empang or tangu worn across the shoulders, the selampai crossing the chest, the tumpa on the arms, and the lampit around the waist. Instead of creating an accurate historical painting, I wanted to reinterpret these traditional elements in my visual language of doodle patterns, flowing lines, and brilliant colors. 

At first, I thought this painting would simply take a few days. But after a while, it just became part of my routine. And life kept interfering in between coloring little sections and drawing patterns. My car broke down and I had to have it fixed at the mechanic’s. One of my molars chipped after I accidentally chewed on a tiny piece of chicken bone, so I had to go to an emergency dentist appointment. There was still housework, my son’s schoolwork, and the usual weariness that comes with adulthood. Some days I just worked on the painting for an hour or two. And there were other days when I sat with it late into the night, hours after everyone went to bed. Even so, I kept returning to it. 

After a while, the painting stopped feeling like just an art project. It became an exercise in finishing something. I tend to jump around between ideas too fast and I find it hard to finish them. But this time I worked on one artwork for ten days straight until it was finished.

And I wanted the picture to be alive and not historical or “museumy.” Perhaps that’s why I tend to choose vivid, vibrant colors rather than subtle earth tones. I wanted the background to feel crowded and flowing behind her. Some designs were influenced by traditional themes and others were instinctual throughout the process itself.

There was one point during the painting process when I really feared I’d botched the whole thing. The patterns on the selampai were meant to be golden yellow, but I layered the wrong colors together and it turned into murky bronze. I tried to fix it with acrylic paint and regretted it instantly. I remember looking at it in utter frustration, totally convinced that I had messed up the painting after days of work. Finally, I walked away from it, let it dry, came back later, and repaired it painstakingly, layer by layer. Looking back, that mistake turned out to be part of the process. I thought those sections turned out great, but they weren’t the main lesson. The actual lesson was that I didn’t ditch the work halfway through.

The finished artwork was created using mixed media materials such as colored pencils, markers, acrylic paint, fine liners, and gel pen highlights. I mostly used non-archival materials, but I actually liked working with them instead of waiting for things to be perfect. In the end, the painting reflects the ten days it took to finish it: color, frustration, interruptions, patience, and finally getting it done. 

I write about Iban culture, ancestral rituals, creative life, emotional truths, and the quiet transformations of love, motherhood, and identity. If this speaks to you, subscribe and journey with me.