IN the heart of this unassuming neighbourhood in USJ, Subang Jaya, something intriguing is taking shape. As I navigate the quiet lanes of the residential area, one house catches my eye. Perched high on the wall, an intricately etched owl, crafted in wildlife conservation artist Christine Das' signature swirls and delicate lines, seems to track my movements, its wide eyes following my approach. The stillness is interrupted by the rustling of trees and the chorus of barking dogs as I step out of the car, greeted by Das herself, waving warmly from the gate.
"Welcome!" she greets me, her voice barely audible over the barks and growls of her two dogs, Cash and Petra. The dark-furred Petra, ever inquisitive, sticks close to my heels as I follow Das, who's quickly vanishing up the stairs. A cold, wet nose brushes against my foot, prompting an inward smile.
Sunlight suddenly pours into a bright, open space, illuminating a vibrant scene to the left — an eclectic mix of plants, canvases and stunning artwork. There in her little studio, she stands beside Peter Ong, wildlife photographer, nature advocate and founding member of Roots & Shoots Malaysia, an organisation under the Jane Goodall Institute. Their identical wide smiles hint at an exciting collaboration quietly taking shape.
Surrounding us, in various stages of completion, are drawings of primates, their large, expressive eyes impossible to ignore. Each gaze seems to pulse with life, commanding attention and imbuing the space with a powerful presence.
At the heart of it all is the centrepiece: a captivating collaboration between Ong's photography and Das' artistic vision — an exquisite portrayal of the near-threatened White-thighed Surili (Presbytis siamensis), blending realism and creativity into a seamless and powerful statement.
Das has reimagined Ong's primate photographs, infusing them with her unique artistic vision to create striking and intricate pieces. Stepping away from her signature use of paint, she's embraced a new challenge — working exclusively with a mechanical pencil to bring these primates to life in a more delicate and detailed form.
The result is a series of dazzling artworks that capture the essence of each animal with remarkable precision. This creative partnership will be unveiled in an exhibition set for October, fittingly named Monkey Business, where their combined talents will highlight the beauty and vulnerability of Malaysia's primates.
"His photographs make it easy for me to tell a story," Das says adding: "It's about giving these primates a voice. They're such an overlooked species in this country, and it's unfortunate because we have a remarkable diversity of primates that deserve to thrive."
MALAYSIAN PRIMATES
Much of the early interest in wildlife conservation grew out of a desire to save some of the world's most spectacular mammals, and to some extent, these so-called charismatic primates are still the best vehicles for conveying the entire issue of conservation to the public. They're really our flagship species.
"We're their closest cousins," Ong says, thoughtfully. "As humans, we share so much with them — our DNA, our behaviour, our environment. That connection gives us a responsibility. It's up to us, as their closest relatives, to step up and ensure their protection. If we don't act now, we risk losing these incredible species forever."
In 2019, Ong launched Project Monyet, a mission to photograph and document all 26 of Malaysia's primate species, many of which are endangered and lack sufficient data.
This ambitious endeavour culminated in an exhibition, launched by celebrated zoologist, primatologist and anthropologist Dr Jane Goodall herself. Last year, Ong released his latest book, Primus — The Primates of Peninsular Malaysia, an insightful exploration of the 12 primate species found in Selangor, Kuala Lumpur, Pahang, Perak, Perlis and Langkawi.
Ong's journey to document Malaysia's primates began with a simple question from Jane Goodall: How are Malaysia's primates faring? "I didn't know much about primates at the time," he admits, adding: "So, we started googling for answers, but there was almost nothing — not even a comprehensive species list!"
He recalls the shock of that realisation, adding: "Even now, there are still so many unknowns, so many gaps in our knowledge and even a lack of photographs to properly document these species."
He pauses, reflecting for a moment before continuing: "It's disheartening that even today, many Malaysians don't know what a gibbon is. We're far more familiar with the orangutan than with the siamang, which is the largest gibbon — or ape — species in Peninsular Malaysia."
Continuing, he shares: "In fact, the most critically endangered primate in Malaysia isn't the orangutan. It's the Raffles' banded langur (Presbytis femoralis), found in Johor and Pahang. There are only a few hundred individuals left. That's a species most people have never even heard of."
Ong's biggest challenge was the sheer lack of information about Malaysia's primates. With so little data available, he had to gather insights from scratch — studying their patterns, navigating difficult terrain, and embarking on a long and arduous journey. This involved working closely with local communities, scientists and conservationists to track down and document these elusive primates. His determination to fill the gaps in knowledge became the driving force behind his project.
One of Ong's most intriguing discoveries was the Stump-tailed macaque (Macaca arctoides), typically found much further north in Asia, all the way to the Himalayas, yet a small population exists in Perlis.
"It's so iconic!" he exclaims enthusiastically. The unexpected presence of this species in Malaysia highlights the rich, yet often overlooked diversity of primates in the region.
The 12 primate species of Peninsular Malaysia, captured through Ong's lens, will be brought to life through Das' artworks for the upcoming exhibition. Reflecting on the collaboration, he shares: "I'm grateful. I love it. For me, there's no point in taking beautiful photos only for them to sit in a hard drive."
Adding, he says: "The whole reason I document these species is to inspire action — hopefully to encourage people to preserve our biodiversity and ask more questions. That's why I'm so thankful Christine has taken this on. It gives these images purpose."
Ong continues: "It's not just about saying, 'Oh, it's so pretty,' and then tucking them away. For me, an image, or any piece of art, only has real value if it reaches out to another human being, if it sparks something meaningful."
MEANINGFUL JOURNEY
Das' first encounter with Ong's photograph of a Sunda Pig-tailed macaque (Macaca nemestrina) was transformative — it made her fall in love with the primate instantly. "It was love at first sight," she recalls. "That image felt like an otherworldly being staring straight at me, as if it held a depth and presence beyond this world."
It couldn't have come at a more pivotal moment. "Something changed in me," she says, adding: "At the end of 2022, I had a heart-related episode, worsened by my depression and anxiety."
As she sat on her hospital bed, a stark realisation hit her: she'd spent most of her life consumed by anxiety. "I couldn't paint; I found myself struggling with it like never before," she admits, voice honest and vulnerable. "I don't know how to explain it, but something shifted within me during that time."
Feeling the need to switch gears, a chance invitation to participate in a drawing exhibition led Das to rediscover a humble yet powerful tool: the mechanical pencil. "For the first time in a long while, something clicked," she reflects, adding: "I fell in love with the starkness and simplicity of the pencil." It was a profound shift for someone so accustomed to working with vibrant paints.
The pencil's monochromatic precision felt almost therapeutic, offering her a new medium to express herself during a difficult time. "It was as if the pencil allowed me to strip away all the noise and focus on the essence of what I wanted to create," she adds thoughtfully.
The wildlife conservation artist's journey into advocacy began with Little Joe, a baby Borneo pygmy elephant rescued after his herd, including his mother, was poisoned to death in Sabah.
It was through Little Joe's story that Das first became involved in Borneo conservation efforts. Her passion for wildlife soon led to collaborations with WWF Malaysia, where she eventually designed a T-shirt featuring Bornean elephants for the organisation.
For the former graphic designer, painting has transformed into more than just a passion — it has become a powerful tool for her to support animal conservation efforts. "Art became my way of giving a voice to creatures who cannot speak for themselves," she reflects.
Smiling, she adds: "Peter's photograph of that macaque tugged at my heart again, so I did a small artwork of the animal to woo him into collaborating with me!" It was a heartfelt gesture that marked the beginning of their creative partnership, blending their shared love for wildlife and conservation.
JOINT ADVOCACY
As Das immersed herself in preparing for the exhibition, dedicating eight to nine hours each day to drawing and creating artworks from Ong's photographs, an unexpected encounter with a Long-tailed macaque (Macaca fascicularis) added a poignant layer to her work. One day, the macaque landed on her balcony, seemingly a sign of the project's deeper significance.
However, the encounter soon turned tragic when the macaque, which Das had desperately tried to save, was shot by the authorities. This stark reality of human-wildlife conflict underscored the urgency of her efforts and intensified her resolve to use her art to raise awareness and advocate for the protection of these vulnerable creatures.
Her voice grows heavy as she reflects: "The reason for doing this show became even clearer. I hated that Macq — that's what I named it — had to die such an unnecessary death."
That tragic experience opened her eyes further to the harsh reality faced by long-tailed macaques. "Their lives are treated so cavalierly," she adds, "whether in conflict with humans, illegal trade, habitat loss or for research purposes".
Each year, more than 30,000 primates are sold to the United States, primarily for animal testing. Since the 1970s, Long-tailed macaques have been widely used in lethal pharmaceutical experiments, reflecting a troubling disregard for their welfare. Due to their rapid population decline, Long-tailed macaques were officially classified as "Endangered" by the International Union for Conservation of Nature (IUCN) in March 2022.
This decline is expected to worsen as exploitation and habitat destruction continue. Additionally, their status as pests in many areas has led to widespread persecution, further threatening their survival.
There's still so much work to be done, but for this duo, shining a spotlight on Malaysia's primates through art is a meaningful step in the right direction. By merging Ong's meticulous photography with Das' evocative artistry, they hope to raise awareness and inspire a deeper connection with these often-overlooked creatures.
"Art has always been incredibly important to me," Ong reflects thoughtfully. "Before cameras and phones, it was art that documented what we saw. It served as a way to record and transmit knowledge, much like writing. Think about cave paintings — our ancestors didn't write, 'We saw 12 animals running'. They showed it through art. It's a fundamental part of the human experience, a universal language."
For Ong, this deep connection to art brings added significance to the exhibition. "Art is even more foundational than photography. It's a cornerstone of the human experience. Working on this exhibition feels special, not just because of the collaboration, but also due to its historical ties."
He shares a discovery from his research on the primate project: "While at the National Gallery of Singapore, I saw an exhibition showcasing artwork commissioned by William Farquhar, the second governor of Melaka in the late 1700s. Most Malaysians aren't aware that he had commissioned over 400 watercolour paintings of our biodiversity — the earliest visual records of Malaysia's wildlife. And now the entire collection is in Singapore." He chuckles, but there's a sense of loss in his voice. "It shows how art has always been an essential part of documenting our natural world."
Das beckons me to take a closer look at the artwork, and as I lean in, I notice something extraordinary. Beneath each pencil stroke, hidden within the intricate lines, are tiny depictions of flora and fauna subtly woven into the larger image. It's like discovering pictures within the picture, and I'm instantly floored.
The detail is mesmerising, but even more striking is the story her art tells — of the interconnectedness of life. Through her work, Das has masterfully captured the fragile ecosystem that binds us with these beleaguered primates, alongside elephants, tigers, trees, plants and flowers. Each stroke reveals the delicate balance of nature, a testament to the vital connection between species that we often overlook.
And perhaps, within each of these stories, we might come to understand the deeper significance of protecting those who are voiceless. For in safeguarding them, we are, in essence, safeguarding ourselves.
Their survival is intertwined with ours, and their loss would echo far beyond their silence, reminding us of the fragility of our own existence within this intricate web of life.
MONKEY BUSINESS
By Peter Ong & Christine Das
CURATOR: Ivan Gabriel
WHERE: Hin Bus Depot, George Town, Penang
WHEN: Oct 4 to 27