Suwen’sWay of Life and Her Development in The Relationship With

Suwen disliked the way Nica saw the objects and subjects to become her paintings, too racial and prejudice toward the issue in the society 2003: 72.For dozen times, Suwen was beaten and forced to follow the idealistic of an artist; based on the perspective of Nica‟s thought and behaviour, therefore this kind of lack of confidence led herself to paint the society based on the narrow perspective of artificial freedom. Different situation occured with Janice, Suwen admired Janice more than Nica because she had found the roots of her true family with Zul while Suwen herself still trapped within her lack of uncertainty about the roots of her own family. Suwen found complicated relationship with Mark Campbell, their relationship was depicted as the children who just ran away from their mother‟s womb, running and catching as they desired, Suwen‟s desire of relationship with Mark was contained in her superego, she had realized herself to be falling in love with Mark and wanted to have further relationship with him. Suwen had lived in the coverage of her own identity in the ancestral culture and race, she began to think the marriage of love went hardand harder with Mark, The prohibition of marrying outside her race had made her cling to another realm of culture conflict within Suwen‟sego, filled with shame that she began to think so prejudice against the male with different color and race, she was an educated chinese woman though. The relationship with Mark was considered to be complicated inside the psychological treat of Suwen, Suwen‟sid stated that she loved and deeply in missing Mark, hoping that he would give the attention to her, at last Mark didn‟t give any sign for calling her. The writer would also remind that painting the society according to her own will attached in the id’s realm. The first three months were the dark-grey months of hopeless waiting, sitting by the phone each night, hoping that he would call and knowing that he would not and pretending to herself that she was not waiting for hiss call anyway. She was exhausted by those mental games of depiction. Lim, 2003: 184 Suwen called the condition of this relationship to be mentally abused, Suwen wanted to love and had further relationship with Mark, the desire of getting attention from Mark had driven her out of control, Mark never called her once. Mark himself found his hesitation about the certainty of his own masculinity, because of the experience of being beaten in the recent past.Suwen left Singapore and lived in the dark green forest of Malaysia peninsula, leaving anything behind so that she could track down her family roots. Using Freudian interpretations in the pysche’s id, the term “escaping”and “alienation” had become her ultimate choice and determination so that she could paint the Singapore. She escaped the conflict within, therefore she put herself in the realm between society and family.Suwen chose to break away, leaving her body and soul untouchable from the interference of men. The lovers‟ moan pursued her, pounding against her ears, rising and falling in a crescendo of exaltation and confusion. Mark, oh, Mark I hate you I despise you I loathe her Lim, 2003: 294 In the end, the relationship between Nica and Suwen had broken because of Mark‟s nude painting. Suwen was angry and protested the way Nica painting about the ugliness of men in all their shape and masculinity. Suwen was sick and questioned Nica for several times on the reason why she chose Mark over somebody else, Nica stated that was Mark‟s own desire to be sketched, Nica‟s word poured out like lightning tunder that ruin the conscious realm of Mark Campbell, Mark began showing the confidence and pride as a man, leaving the uncertainty of his own masculinity. This considered to be the act of betrayal from them, Nica and Mark. Using Global and Postcolonial feminists‟ concern about sexuality injustice that happened in the society, the reality background of Nica urged Mark to pose like a common girl that was exploited for mass media, by doing so, Nica showed the equality between men and women to be treated the same without knowing their sexes. Suwen chose to leave them away, letting her body and soul untouchable from the hands of men.

3. Suwen’sWay of Life and Her Development, as Reflected in Her

Painting Suwen‟s painting was explained many times before this section, through this section the writer would like to elaborate the essence of the painting toward the development of Suwen‟s feminist behaviour and thought. Freudian interpretation supported the representation of oppression, repression, and resistance to be delivered in the symbol and those issues had been carved within Suwen‟s painting. Suwen painted the Ong family‟s social background as she watched the old potograph in the mansion, the event of Ongcompany which provided Japanese army with war material support was considered to be the act of betrayal to the peasants of Singapore. Suwen painted it and driven the society to mock her and led to further humiliation, however she chose to paint any kind of issues that she felt and saw within. Based on Fistful of Colours, the writer took the another sample of Suwen‟s object to be her painting. Jinrickshaw was the place of malevolence, malediction, and malice.Jinrickshaw was considered to be the place where mul ti ethnic‟s conflict emerged, dominated by the Chinese who migrated after disaster emerged in their former country and mainly filled with immigrants of Indian, Malay, and British. Jinrickshaw became a place of riot when colonialism began. These chinamen must be taught our traffic regulations and learn to obey the laws. We urge the relevant authorities to see to this without delay Lim, 2003: 83 Jinrickshaw, became the direct example of Multicultural feminists that emphasized the diversity of multi ethnic caused the complex situation where the people should find the way to stablelize their institution of cultures in the new country. A Chinatown contained the sickness of the society, hunger and despair had covered the breezing air within, each race had their own way of thinking toward the situation and condition of life that they would choose Suwen tried to sketch them, each of them was trying to embrace another failure becausethe painting never came as the result that Suwen desired most, Suwen always failed to transform the society‟s event from the perspective of another race. Suwen had tried to capture them in her sketchbook. But each time she tried, she had failed miserably. They never came out the way she saw or heard them inside her head. How to translate that which was inside into something which she could show to the outside world was her constant struggle Lim, 2003: 103 Using Freud‟s analysis on psychological criticism, Suwen‟s conscious was repressed by her own uncoscious, it was reflected through the painting she had sketched. The disambiguity of her knowledge toward the ancestral roots was pressed down with the desires and dreams that depicted in the literary ways, her resistance toward the oppressor that was resembled in the painting. The underlying assumptions is that when some wish, fear, memory, or desire is difficult to face we may try to cope with it by repressing it, that is, eliminating it from the conscious mind. But this doesn‟t make it go away: it remains alive in the unconscious. Barry, 2003:100 Suwen wanted to paint the society according to her own will, the fluidity of loneliness and rootlessness. According to Freud, Suwen‟sego which lacked of confidence for exploring her roots had been suppressed by the “act of forgetting”, Suwen kept on painting the soceity as she liked. However, the repressed feeling in the conscious realm would always come to surface and it remained alive in the realm of unconsciousness, the experience of the conflict of her lack confidence had risen but she tried to paint it as her feeling went through. She would rather paint. Painting as she was feeling and feeling what she was painting, filling huge abstract spaces with colours. Lifted by and inner music, and impelled by feverish restlessness, her hand had painted the light and shadows, lines and shapes. Lim, 2003: 15 Suwen‟s way of painting was to merge the two different media of the medium world of the society into cause and effect which consisted of different portrait of an event that led the shifting of perspective of the society on looking the perceptions of things. According to Nica, Suwen‟s painting was set to explore