How did you feel when you were chosen to design this specific "Our Last Kampongs" series?
Designing this series felt like destiny. I was already deep into kampong research for another project, immersing myself in old photos and Josephine Chia’s Kampong Spirit. The subject was already close to my heart.
How did you research the "feeling" of kampong life?
To capture the kampong soul, I visited Lorong Buangkok and Pulau Ubin. I remember a rainy morning in Ubin—raw and quiet. Walking through the abandoned Kampong Durian, I realised that "Kampong Spirit" is inseparable from "Kampong Living." It’s a delicate coexistence where nature shares its shade while we are there, but reclaims the land the moment we leave.
Why did you choose these monotone colour? What "mood" does each colour represent for you?
The designs actually started in full colour! However, because the tones felt too similar, I shifted to four distinct monotones. This change allowed the unique architectural character and "mood" of each kampong to stand out. From early sketches to the final stamps, the process was about distilling the essence of these historic spaces.
What does it mean to you personally to have your artwork featured on a postage stamp, and does it connect back to any of your own childhood memories?
Postage stamps are powerful markers of a country’s character and pride. Knowing my artwork is traveling the world on envelopes and postcards is a surreal honour. It reminds me of the stamps (China’s Folk House Definitive Stamps (1986-1991) on letters we used to receive from my aunt in Beijing—tiny windows into a different life, now shared through my own designs.
