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A full-body Japanese ink-splash (sumi-e) painting on aged rice paper depicting A young brownish skin tone balinese women with her son sitting on her lap, drawn in a simple abstract surreal minimal style of artist Cheong Soo Pieng, with disproportionally large almond shaped eyes closed with thick dark eye slits & thick pinkish lips, black long hair with turban, seated closely together beneath a dense, stylized canopy of leaves. The mother figure has unnaturally elongated bodies & limbs, wearing batik patterned traditional Balinese costumes, gently tilted head, and closed or half-closed eyes with lashes, conveying quiet intimacy, contemplation, and emotional closeness. Her facial features are simplified and almond-shaped, with smooth, matte skin tones in warm ochres and muted browns. She wears traditional patterned sarongs with intricate batik-inspired motifs in earthy reds, greens, and golds. Hair is dark, sleek, and simply styled; small red earrings add restrained color accents. The ground is also light green. Render the whole image as a powerful abstraction approaching silhouette emerged through expressive black ink washes and fractured brushstrokes, conveying intense, restrained pain and psychological tension. Phase Twist, Fourier distortion, Bekeshi curves, and void-like holes integrated through rhythmic ink dispersions, rotational brush spirals, and negative space. The background dissolves into palm leaves & ferns on a canvas, under shimmering waves of light & shadow. The background is richly textured and decorative rather than realistic: a tapestry-like field of repeating leaf patterns in gold, brown, and black fills the upper half, while the ground is composed of dotted, stippled textures in warm earth tones., blend with tricolor ink gradient of deep indigo, muted crimson, and raw paper white, bleeding into the fibers. The composition is balanced and maximalist, with restrained color accents. Inspired by Hokusai, Hiroshige, and sumi-e masters, emphasizing gesture, texture, and imperfection, with dramatic ink density contrasts creating cinematic chiaroscuro, allowing the figure to emerge from shadow through negative space.
Where the Leaves Remember
She kneels within a hush of gold,
eyes closed to the weight of names,
as if listening to an older instruction
carried through veins of leaf and wind.
The child rests against her steadiness,
one arm lifted—not in reaching,
but in rehearsal for becoming.
His gaze holds the unfinished day.
Above them, leaves arrange themselves
into an ancestral ceiling,
each vein a record of endurance,
each shimmer a vow kept quietly.
Water moves behind the moment,
ink-dark waves repeating what must pass.
She does not resist their rhythm;
she teaches the body how to remain.
In her stillness, time softens.
In his patience, time begins.
Between them, the world learns balance—
how to shelter without enclosing.
It is my view that awakening, at its gentlest, looks like this: presence without grasping, guidance without command, love that steadies rather than binds.
