In Bukit Timah Hill (武吉知马山), tradition meets transformation. At first glance, the painting follows the classical rhythms of Chinese shan shui—winding paths, layered mountains, and trees ablaze with seasonal color. But as the eye climbs toward the misted summit, it halts at a striking intrusion: three towering chimneys rise from the mountain’s crown, monuments not of nature, but of industry.

The scene is not one of conflict, but of quiet coexistence. A pair of figures walks along a forest path in the foreground, holding each other in embrace — human intimacy set gently against the enormity of the land and the slow creep of progress. Pavilions and footpaths speak of an enduring cultural landscape, even as the world beyond presses in.

The composition was thoughtfully conceived by the artist, with the Bukit Timah Reservoir deliberately positioned near the hill’s summit. Its placement evokes the image of a treasure-gathering vessel — a Feng Shui element that symbolizes harmony, abundance, and balance. Using traditional brush and ink techniques better conveys the grandeur and majesty of the mountains, while still preserving elements of their original appearance. An inscription in the painting reads: “Who says the Lion City is short of mountains and rivers? Bukit Timah is a place of wellness and retreat.” This phrase poetically reinforces the idea that Singapore’s landscapes, though often overlooked, possess a serene beauty and nurturing spirit. The presence of a couple within the composition adds a gentle, human warmth to the scene, suggesting themes of companionship and quiet joy amid nature. The inclusion of a couple further adds a sense of warmth and affection to the scene.