Dragons hover all over Jolly Koh's painting repertoire of 60 years, numbering easily a dozen. In profiles, standing erect, celestial or as an imperial insignia (the five-clawed dragon of Manchu emperors), they are depicted singly and floating, in the air, on land and underwater. There are dragons in profiles (left and right) as shown in the dual exhibition with Choy Weng Yang at Singapore's Sunjin Galleries (June-July 2010), and others with telling titles like Urat Naga (Dragon Veins), Dragon Scent, Dragon Landscape, Dancing Dragon, Dragon Country I-III, Dragon Dance I-II, Kangxi's Dragon, Celestial Sea Dragon, Night Of The Dragon… Some works can stretch up to (66 x) 244cm. Jolly Koh finds the dragon invested with supernatural powers, regal and a sign of fame and prosperity. The work exudes a sense of something precious and auspicious. It will be good to acquire this work as the Year of Dragon is coming in 2024. The Asian dragon has also become a chauvinist symbol of masculinity, though lexiconography lists dragonelles as those of matured female variety. Jolly Koh's defining moment is his 2017 milestone exhibition in Kuala Lumpur celebrating 60 years of painting, marked by a presentable coffee-table publication. It was organised by Henry Butcher Art Auctioneers. It marks his twin achievements straddling academia and painting practice. Apart from his pedagogical writing, Jolly Koh had taught Art in Malaysia (ITM, Gaya College in Sabah and back at MSC College later) and Australia (12 years, ending as a senior lecturer at TAFE College in Adelaide). He was educated in the United Kingdom (Hornsey and London University) and the United States (Indiana University, Ed.D and Msc, where he even taught Masters students for a year). His early prominence was as one of the Magnificent 7 abstract artists in the GRUP exhibition held at the AIA Building, Kuala Lumpur, in 1967. His last solo, Jolly@80, was held in January 2022.