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The age-old values of family piety, and bonds of friendships are emphasised in Eng Tay’s endearing narratives of togetherness, interconnectivity and aloneness. Whether indoors or out in the open, Eng Tay spools memories of the precious moments of childhood and observations on traditional societies in his travels around the world. This is an exceptionally busy work with a total of ten figures, five in the shadows. Except for the children, this is essentially about women’s power with the matriarch in a trendy tube blouse and seated in the centre passing a child to a woman dressed in a tudung (headscarf). Behind her, a child in tudung is clamouring for the kite held up by another woman. A basket that is full and brimming with fruits on the floor near the opened arched window on the left indicates adequacy of food. It is altogether a familiar and endearing scene that brings to mind the noise and chaotic scenes that can be found in big families.

Eng Tay stayed behind after heading to New York City to study Art at the Art Students League (1969 to 1972) and the Pratt Graphics Centre (1972 to 1977). Known for working in a multitude of media such as etching, painting and sculpture, his works are recognised for the depiction of relationships between family, lovers, friends, music and nature. He started having solo exhibitions in the United States of his prints, paintings and sculptures before etching his name back in Malaysia and the rest of Asia. He had a retrospective when Galeri Petronas hosted him in the blockbuster exhibition Eng Tay: The Exhibition in 2009. Currently residing in New York, he tours extensively around the USA and Asia in conjunction with his exhibitions.