This exhibition provides a unique visual statement of the ideas of two third millennium Malay craftsmen who were born into, trained in and practiced the traditions of woodcarving, and who then became involved in its research.

It describes what lies beneath the woodcarvings of the East Coast of the Malay Isthmus together with the traditions, historical associations and philosophy of its artisans, and it analyses its motifs, their origins and development.

Introducing the exhibition are three superlative examples of the keris (the Malay dagger), showing how they carry the message of the culture of long gone civilizations. In contrast, the simple artifacts of everyday life follow, carrying similar statements in their decoration. The motifs within them are considered and explained.

Stepping into the workshop of the carvers, the traditional methods of forest conservation and timber preservation are illustrated - which trees are sought, where and how they are sourced, the basic tools and techniques used to form carvings. The context of the carvers' lives is illustrated with large photographs.

The various types of keris, the specific evolution of certain historic handles and examples of important use of motif and idiom are exhibited.

Architectural components such as wall panels, and photographs of the use of carving in buildings illustrate the affect of the differing cultures on the motif and design of Malay wood carving and show the various types of motifs introduced by Hindu, Buddhist and Animist concepts, and the way that Islam dealt with these entrenched concepts by absorbing, abstracting and evolving the motifs.

Artefacts exhibited have been collected from the East coast of the Malay Isthmus and include: a ceremonial bird (the head and tail of this mythical bird, richly carved, painted and gilded were used for ceremonies in the courts of the Rajas of Pattani until the middle of the last century), a four poster bed from the same royal court, of mediaeval magnificence, keris with superbly carved handles in precious woods, ivory or bone, that rival "netsuke" in beauty and artifice, intricately carved panels from houses, mosques and old palaces, simple household artifacts, beautifully carved and ornamented, as well as carved elements from boats and workplace.

All are augmented with drawings from the craftsmen's sketchbooks and photographs showing the context and explaining the derivation of the motifs and the background history, including tantalising connections with the legendary Kingdom of Langkasuka.

Each has a message, each contributes to the story of the evolution of Malay design, and each in itself is a work of art Complementary Programme. While the exhibition is the core of the project, an extensive complementary programme is also being planned, including a comprehensive and magnificently illustrated book which will act as a catalogue, a seminar, workshops and a documentary video.

A team of talented and internationally recognised Malaysian professionals has been recruited to work on the project. They are united in their commitment to preserving the unique Malaysian cultural heritage.

Malay Woodcarving is one of the oldest traditional Malay arts. Its fragile nature, and the destructive climate of Malaysia has ensured that little remains today from its early beginnings. In 2000 Nik Rashiddin Nik Hussein, Malaysia's foremost master woodcarvers, and a small group of concerned people in Malaysia believed that it was in danger of becoming a dying art and organised a small exhibition in Kuala Lumpur to publicise the beauty, the history and the philosophy behind Malay woodcarving in the hope of instigating a reaction.

They put forward the premise that Malay woodcarving has a distinct regional style, which owes its origin and composition to its varied cultural and religious backgrounds. This is taken for granted in the context of today's multicultural Malaysia, but the specific nature of these cultural strands tends to become increasingly blurred when one goes back into history. Facts and extant artifacts are few; however legends and myths remain, and also and of far greater value, traditions and motifs.

This exhibition, now greatly enlarged, has been developed through the knowledge of, and with artefacts drawn from the collections of Nik Rashiddin Nik Hussein and his protégé, Norhaiza Noordin. Tragically Nik Rashiddin recently, and most unexpectedly, died after a short illness. His loss makes it all the more imperative to document and showcase his knowledge and work. Arising from the first exhibition in 2000, with its associated publications and workshops, further research into the background and origins of this art has been stimulated, and already an incipient vitality is apparent.