What's going on around the globe Hey diddle diddle, The cat and the fiddle, The cow jumped over the moon, The little dog laughed to see such sport, And the dish ran away with the spoon. This nursery rhyme (originally a poem satirising the love life of Queen Elizabeth I) has been popular with illustrators for centuries. They're typically fun, innocent and colourful. Malaysian artist Sandra Lee is making a name for herself by using this and other well-known rhymes and stories as inspiration for her works in paint and ink on canvas. But, as her recent Fable exhibition at the Alliance Francaise shows, Lee's images don't get the saccharine treatment. They range from a diabolical grandfather clock to flying, cloned sheep, combining a dark, Dali-esque universe with a whimsical, childlike touch. The artist describes her work as very personal - 'my encounters with life and love; hopes, fears, trials and tribulations; the search for happiness and justice'. In Has Lost Her Sheep, she uses Little Bo Beep to examine society and life after death. A faceless girl sits on a chair by the side of a highway, while sheep in fluffy clouds tower over her. It was painted just after Lee's father died, and in it she questions, as a non-religious person, the meaning of death. 'The idea of the sheep comes from the Christian belief that Jesus' flock of sheep will return to Him in heaven,' she says. 'It also comes from the idea I carried over as a child gazing at the clouds in the sky - imagining them to be animals.' She says she used an image of Dolly, the first cloned sheep, to question immortality. Lee says many nursery rhymes are meaningless for children, but she likes to give them a twist for adults. In Morning Bells Are Ringing, the cat from Hey Diddle Diddle lies on a road, looking half dead, while the dish and spoon have a heated argument and the dog howls in the distance. The dish and spoon recur in her work, and she says they're a metaphor for relationships. In Row, Row, Row, the pair have embarked on a sea journey aboard the Ever After. On their way, they encounter a giant wave. 'We wonder what's to become of them,' Lee says. 'This drawing addresses the journey that two people have vowed to embark on together in life, and the trials that test their reliance on each other.' Lee injects her thoughts and feelings about historical and current social events into her work, and sets them in an Asian context. In Who Lived in the Shoe, she frames a powerful statement about the oppression of women by using a Chinese lotus-foot slipper with Arabic details. The exhibition, which includes works by other artists, runs until Friday.