Gerard’s “Gift to Singapore” – a tribute to the island Republic – mirrors his love and zest for life. The floor-to-ceiling mural, originally commissioned by the Mandarin Singapore, (now privately owned) is a kaleidoscope of colour, a cornucopia of ideas. Its predominant colors – ochre, orange and brown – are highlighted by gold, white and aquamarine, a further reflection of his ebullience.

Flowing across the mural is the Singapore River, lifeline for the country’s myriad races. Berthed in tight formation on both banks of the river is an unusual assortment of small craft – not unlike those which first brought the pioneer traders to Singapore.

The sleek silhouette of the deluxe 40-storey Mandarin Singapore towers over the small picturesque houses with their sloping roofs of red tiles and flights of concrete steps leading down to the river.

For some banks in the Republic, the Singapore riverfront was their birthplace as it was for large trading houses. This is the artist’s portrayal of Singapore’s social and economic achievements over the past 150 years.

The places of worship which Gerard has featured in his mural offer an interesting study in architectural forms – the magnificent mosque with its distinctive dome, the ornate Hindu temple, the stately steepled cathedral and the old Armenian Church. These landmarks stand out against the bright tropical sky, and represent freedom of worship. Anderson Bridge, symbolic of bridging the old and the new, the traditional and the contemporary, spans the Singapore River.

Bearded and turbaned Sikhs, crowd-drawing lion dances, kelongs (fishing stakes) and Malay kampongs (villages) with their thatched huts and coconut palms, along with the Victorian – style Supreme Court and tree-lined Orchard Road, are just some of the other elements that made up the Singapore of Gerard D’Alton Henderson.