Harmony in the Grove

In Harmony in the Grove, Cheong Soo Pieng transports us into the serene, almost sacred world of Balinese communal life. Painted in 1976, this exquisite oil on canvas, measuring 119.5 by 90.5 cm, captures a vision of unity through an intimate portrayal of ten women seated in a quiet circle beneath a canopy of trees. Rendered in an elliptical, almost egg-like composition, this work goes beyond figuration—it becomes a vessel of symbolism, balance, and spiritual cohesion.

The ellipse, long associated with fertility, life, and continuity, forms the backbone of the composition. Rather than using traditional rectangular framing to contain his subject, Cheong opts for an organic form that both echoes nature and suggests the womb—nurturing, cyclical, whole. The choice is deliberate. The oval shape envelops the ten women in a soft embrace, hinting at timelessness and perfection. In Balinese culture, as in many traditional societies, the community is central. The number ten—symbolically perfect, evenly divisible, and often linked with spiritual wholeness—becomes a poetic expression of harmony within this enclosed sisterhood.

The figures, though stylised in Cheong's signature manner—elongated limbs, almond-shaped eyes, softly sculpted features—retain individual identities. Some women face inward, engaged in quiet communion, while others rest in contemplative solitude. There is a beautiful lack of urgency in their gestures, a languid grace that evokes a timeless pause. Their gazes are soft and inward, as if each is simultaneously present in the moment and immersed in ancestral memory. It is not a scene of performance or spectacle, but of life as it simply is—calm, interconnected, flowing with unspoken understanding.

Cheong's colour palette further underscores this sense of cohesion. Earthy ochres, deep mossy greens, muted browns, and sun-warmed yellows dominate the canvas, conjuring the elemental tones of Bali’s natural world. The women's garments—finely rendered with batik patterns and textured fabrics—are differentiated in design but united in hue, suggesting individuality existing within a shared cultural thread. The occasional bare torso, rendered with gentle modesty, speaks not of sensuality but of natural ease and tradition.

A tree branches out above the group, its fine lines and leafy canopy echoing the interconnectedness of the women below. Nature in this painting is not background—it is part of the community. The leaves and branches seem to weave into the women's gathering, almost as if they, too, are listening. The shade under which the women sit becomes a metaphor for collective wisdom and protection, passed from one generation to another.

What is most remarkable is the democratic rhythm of the composition. There is no singular focal point, no dominant figure that draws the viewer's attention. Rather, each woman is essential to the ellipse—each a vital node in the greater whole. This refusal of hierarchy elevates the painting's message: that the community flourishes not because of any one individual, but because of the interdependence of all. This is a matriarchal quietude, a strength that is non-linear and deeply rooted.

Cheong Soo Pieng, though not Balinese himself, shows remarkable cultural sensitivity in his rendering of this scene. His time in Southeast Asia shaped much of his artistic journey, and Harmony in the Grove reflects his deep respect for local traditions. He does not exoticize his subjects; rather, he honours them through a modernist lens that is both formally sophisticated and spiritually resonant. The painting becomes a bridge between worlds: between tradition and modernity, individuality and community, stillness and life.

At the bottom of the scene, Cheong places small offerings—perhaps flowers or stones—arranged at the women's feet. These objects echo the Balinese custom of daily devotion, where ritual and everyday life are one. It is a small detail, yet profound: it reminds us that this moment of gathering is not just casual, but sacred.

In Harmony in the Grove, Cheong captures not only a portrait of women, but a philosophy of being. This is an artwork about balance—between people, nature, and spirit. It is a meditation on the quiet dignity of communal life, especially among women, who carry cultural memory, who nurture without spectacle, who sustain the rhythm of the village through grace and presence.