I broke it off. I broke her off and her neck,
you know, because there were bubbles and I got,
God knows what was inside. So when I broke it
off, there were actually eggs, insect eggs and
everything. And I realised that her eyes wasn't
depressed. It was actually a nest, like, inside
her eyes. And the statue was filled with insects
and stuff. Oh dear. This is where I'm going to
tell you, you may not know this, but all this
while, the cameras have been rolling. Oh, okay.
So we actually... Wait, let me comb my hair.
Did you wash your hair today? Yeah. Got shampoo
though today. Conditioner also. Conditioner also.
No wonder the hair do them soft, boy. Shidy is
a more, boy. Better than my future. You know,
I named this episode, I Love My Job. That one
with the statue whisperer. Should you whisper
to statues, man? Sometimes. Sometimes I do, actually.
Jokes aside. Okay. Talk to some of the statues.
Not pray to them or anything like that. But sometimes,
just give me a bit of... you know, in the sense,
how do you, how do you want me to do you? That
kind of, this is not very right. Turn around,
turn around, Chris. This is not a hantu show,
bro. No, but in the sense, like jokes aside,
in the sense, sometimes I, some clients can't
choose their color scheme. Right. I can't choose
the color scheme for them, certain projects,
you know, and then they just say, leave it to
the statue. Right. Sometimes I'm doing the statue
halfway, I just like, follow my heart or like
i feel there's a feeling i don't know how to
describe this so it's just like okay this color
goes on here yeah your creative sense comes into
play which is something i want to ask you later
on well before i do that welcome back to the
show the chris hansen conversation on a 40 hour
i love my job series i've got this guy with me
you've heard part of our conversation and i call
him the statue whisperer And here he goes. There's
no statue he's whispering to unless he thinks
I'm one. And he is Ryan O 'Hara. And Ryan is
a guy that takes religious artifacts, anything
that is of sentimental value to even individuals
and has done stuff also in corporate levels,
you know, to restore stuff, to restore things.
value and of importance and of all kinds of minerals
and elements and materials. And I think this
is such an interesting trade to be in. Hardly
can you find anyone that actually indulges in
something like this. Now, before I go on and
having my chat with Ryan, let me just show you
some of his works. Kai, you ready for this, Kai?
Yeah. Okay. Can we put up the picture with the
Holy Family, the before picture? Now, take a
look at this, everyone. If you take a look at
this lovely statue of the Holy Family, it's Catholic,
of course. And what Brian had done, what happened
after it was given to him for restoration. Can
we have the after picture, please? There you
go. And then can we have the same Holy Family
before? There you go. This is in an altar, I
suppose, right? It's a client's house. In the
client's house. This is a personal item. And
what he did right after that, there you go. Marvelous
stuff, man. Thank you. Marvelous stuff. So this
is what Ryan does. There's just only one small
facet of what he does. And I have, again, with
me in studio, on the show, on the Chris Hansen
Conversation, the statue whisperer, Ryan O 'Hara.
Good morning, Singapore. Hello. You can tell
time now. Brother, what time now? Good afternoon.
Well, this is what I like about you, man. You
know, you really would call a spade a spade,
wouldn't you? Fucking hell. Okay. So, Ryan, your
story is unique. Growing up. While you were growing
up, I know you had probably, well, a lot of no
good shit. Yeah, but did you ever imagine you'd
be restoring statues and artwork? Honestly, no.
Growing up, I was, I could say pretty naughty.
You don't say. I mean, I'll be shocked. Growing
up, I was quite naughty. Growing up, didn't have
a care in the world in the sense like, when I
do something, I just do it, you know? But then,
over time, it was like, not the life I want to
lead, you know? I don't want to go down that
road, you know? So I took a back step. What road
was that, man? Emphasize. Elaborate for me, please.
Mixing around the wrong company. Okay. Doing
nonsense, doing shit. But were you ever, what
were your interests, that aside, as a child or
as a young adult? Oh, I used to love guitar.
Music? Yeah, music. Okay. Music and art, actually.
Yeah. So you've always been into the, okay, performing
art is one. Performing arts is playing the guitar.
You play, still play? Yeah, once in a while.
But I haven't touched the guitar for about a
year or so. Okay. And then you were into art.
Yeah. You loved it. Yeah. You always have. From
young, you know, I started liking tattoos and
stuff like that from a very young age. But you
didn't end up being a tattoo artist. There were
times I actually tried going into that light.
Yeah, but that didn't work out, you know. The
whole apprenticeship thing was a bit too heavy.
Okay. Yeah, so. Okay, so, which means that your
foray into restoring statues and stuff, you're
self -taught. Yep, everything, head to toe. How'd
that happen, man? Jokes aside, I used to work
in oil and gas last time. Right. Then one day
I came back, you know, from work, just at home,
having a beer, having a cigarette and everything,
and I looked at her. Had to add that one in.
Having a beer, a cup of cigarettes, yeah, okay.
Just relaxing and stuff like that. And then the
next thing I know, I was looking at my own altar.
And you're Catholic, right? Yeah, I'm Roman Catholic.
I look at the altars, like, quite old, the statues.
I bring them down, I clean them up. So my mom's
like, I go into the shop and blah, blah, blah.
So she left the shop, I clean them up, I started
painting them and everything, I put it back up.
About two hours later, she comes back and everything
is like, hey, you want to buy new statues? I
was like, no, I painted the statues. You bloody
rascal, you're painting the statues. Even my
dad came home from work that night. I'll never
forget that. He comes home. He comes home, he
say, hi, Fee. He calls my mum, Fee. Right. Goes,
hey, right, how? He say, hi. I said, oh, man,
okay. He say, okay. Then he look, you all want
to buy someone new statues, ah? Then, then, then,
my mum comes out of the kitchen, no, your son,
this fella painting all these statues. But, but,
but you did all that. Remember, you started painting
it. Didn't you think for one second that I could
maybe even mess this up? Not really, no, I just.
felt like doing it you know just uh painted it
according to color at the time and you knew what
kind of paint to use nope But at that time, no,
you know. And then, from there, I started, like,
I'll go up to my mum, I'll go, hey, old lady.
Then she's like, what's this with the old man,
old lady, man? What? My pen name? Then, my son
had better not call me old man, man. I'll fucking
flip. It's quite old, right? Shut up, you. No,
the thing is, she's like, what do you want, old
lady, old lady? What do you want? I said, we
got any old statues here you don't want? She
said, oh, right. I said, have a look. you don't
want like not religious ones like those old like
women sitting on the chair okay okay so you show
up take what you want to do put in your room
or something let me go and try and restore okay
go to the kitchen smash the thing and she go
what the bloody hell are you doing you want to
break the damn thing yeah I broke it what are
you doing I said I want to try and restore it
then she say you have to break the thing I said
yeah so I can piece it back like a jigsaw puzzle
see if I can can cover up what the fuck brah
that's how I started you know and then I started
reading online right going to the library last
time trial and error a lot of trial and errors
you know trying this trying that mixing my own
concoctions to see the like What is it called?
It adheres to the stuff. Right, right. Where
they can glue together. Where they can glue together
and stuff like that. But you've already broke
them. Yeah. So how the fuck are you going to
get it back to? That's not restoring. That's
not restoring, man. That's repairing, man. But
I had to do something in the sense like try out
whether it works or don't work. Whether this
pin suits or doesn't suit. Right. From there,
it was just... That was nearly... I would say...
Wait, let me push the condom up. I thought you'd
take it off. I mean, for protection's sake, you
know, I'm going to push the condom back up. Shit.
No, the thing is, that was, I would say, close
to Christmas, right? So like, in your Christmas
period, people, the aunties and uncles come to
the house, right? That's how it started, you
know? They're like, anyway, you get this statue,
it's quite nice. Then my mum and dad were like,
oh, he painted. Then they're like, huh? You painted
all these statues? I was like, yeah. The devil
made these tattoos? I mean, hey, you're making
it sound as if it, you know, I mean like, wow,
like, you know, everyone thinks of you that way.
My goodness. And from there, like, based on word
of mouth, they were like, oh, can you do this
for me? You know, can we put the picture of Ryan
up? Ryan, pick two. That one. That's you. actually
doing some work on restoring a statue, a statue
of the Virgin Mary, right? Yes. Okay, okay. So,
I have a question to ask you. When you broke
that piece that your mom gave you for practice
sake, Did it work, man? Did you get it back together?
How long did it take you? Were there any challenges?
Yeah, a lot of challenges because I didn't know
how to, you know, and then it took a bit of time
and I started like farting around all the different
items. Farting around. So I managed to get it
in place. Okay. But I could still see it wasn't
seamless, you know, was still cracked, you know,
certain areas you could see the, it wasn't level.
You know, I started, I figured out how to send
it down, how to file it down. How long did it
take you to figure all that out? That piece only
was about three and a half weeks, four weeks.
Wow. And you actually had the patience to go
through three and a half without even thinking
that this could even become your trade. you were
not thinking of it at that time it's just something
I like to do you know okay like when growing
up I used to like watching those restoration
shows you know and the before and afters and
then I just took a liking to it so like that
particular piece took quite a while you know
right from there I started doing it more and
more what was it made of Matt? probably Probably
fiberglass. Fiberglass. I'm thinking, you know,
but it doesn't feel like fiberglass. I'm thinking,
because it's quite a world statue. Okay, okay.
How about other materials? That's fiberglass.
This interesting picture of a brass cross. Oh,
look at that before and after. My goodness. Bounces
off, man. I mean, just look at the colors, man.
You move from fiberglass. And then you work,
what kind of materials? Oh, no, this one is brass.
You told me fiberglass with a broken piece that
you experimented on. What other kind of materials
do you work on? I would say plaster, a bit of
steel, brass, chrome. Wow. But rarely, very,
very rarely. Even porcelain, I've done a couple,
but... It's pretty hard to do. But I managed
to do one proper one. It looks seamless and everything.
And all these materials, no one... taught you.
No, you didn't even go on YouTube to check it
out. I did, I did. You did, okay. I checked online,
I read online and everything, but no one physically
taught me. Right. Like, sometimes I'm walking
on the side of the road, I guess, for example,
a shop house. Right. And then you see your uncle
squatting down fixing something. I go, hey, uncle.
Then he's like, what are you doing? Then he's
like, oh, I'm fixing this thing. Then I'm like,
can't see. So what's this? Then he said, oh,
I'm using this epoxy mix with that. Okay, then
that's how I got, like... So you basically watch
people do stuff as well. Yeah. And it was all
learning curves for you. Ah, right, right, right,
right. Let's go back a little bit, okay? Let's
go back to that part. Wait a second. Yeah, you're
saying? Yeah. There's not a single ohara I know.
This is not funny, you know? I just... Hey, Kevin,
Julian, you guys are a few of those. Okay. Crazy
O 'Hara's. Okay, bro. Let's go back to that broken
piece, that piece of fiberglass, and you work
on that. Then what happened next? From there,
more or less, it was word of mouth. Like I said,
they would come, they look at the altar, they're
like, hey, this is nice. Then they're like, oh,
you can paint statues? I said, yeah, I can try.
From there, they're like, oh, next year, I'll
bring you a couple. That's how it started. So
whenever I was on my off day or after work, nothing
to do, it was good. You were still oil and gas.
What were you doing in the oil and gas area?
I was doing mechanical line, those uh deburring
making the lugs for the drill bits for the yeah
yeah all that kind of stuff good money man Yeah.
Well, wages could be quite good. It was, it was.
It was, right? And then, okay. Yeah, and then
I decided to take a jump from that to this. Okay,
let's stop there for a while. We'll get to that
soon. So you were in oil and gas and people started
coming to you with this, well, at least relatives,
right? Yeah, majority of them were. Yeah, it
started that way. I'm trying to discover your
journey. And then they gave you, it's trying
to restore this piece of me, trying to restore
that piece of me. So in your free time, you just,
got into that, right? Okay. And then, what happened
next? From there, I started getting the hang
of it, you know, in the sense of how to paint
them accordingly, you know, how to make them
less, like the cracks and stuff like that, more
level and less obvious. Right, right. But then
the... the more I did it, the more I liked doing
it, you know. Yeah, I started to actually fall
in love doing that, you know. So I came home
one day and I told my mum and then I'm going
to leave the oil, I guess, you know. Yeah, what
did they say? Then my mum looks at me like, you
know how much you're getting paid, right? Yeah.
Of course I know, I'm working like a dog out
there, of course I know how much I'm getting
paid. But it's not what I want to do, you know.
And some oil, I guess, is quite dangerous also,
you know, in the sense, you can go to work and
not come back but then again life is like that
also just go out and don't come back here today
gone tomorrow kind of thing but the thing is
like I'm the only child so I didn't want to have
anything happen to me and I can't look after
my mom and dad in future okay I started I enjoyed
doing my work for the the restoration the painting
the before and after so I just told them I want
to do this after how long when you started when
your relations gave you all those statues to
make and then you started restoring them you're
still working yeah after how long a period you
started doing all this and until you made that
decision that I am going to leave my well -paying
full -time job The reason you gave was very valid,
though it is a very nice reason. But most other
people would go, if I lose my job now, I won't
be able to take care of my mom and dad. But instead,
you're looking at the dangers of the job. And
I still must look after my mom and dad and make
sure that I'm still alive to do that. So I'm
no longer in dangerous work. But that period
of time when you started doing this restoration
work for relations. To the point where you made
that decision that I'm, fuck it, I'm going to
leave my job and I'm going to do this full time.
And how long was that period, man? Seven minutes.
Fuck off. It took about, I would guess, around
four to five months. Okay. Because I started
doing it more and more and more. And you got
the confidence after just four or five months
that I'm going to quit my freaking well -paying
job? Four or five months? Seriously? Yeah, it
just, it was just a, I want to go all in in this,
you know. So I've been doing it for the past
seven years full -time. It's been seven years?
Yes. Full -time, you know. But like I say, it's
being this, It's a small company and stuff like
that. You know, you get clients, you send the
statues, churches, schools and stuff like that.
But some months are dry months, you know, you
don't have anything to do, you know. It's just
quiet. Sometimes I'm just busy and head to toe
covered in dirt and all the rust and stuff like
that. Okay, you're saying your clientele, churches,
schools. Before we go there, right, when you
made that decision to leave your job to do this
because you love it, Did anything occur to you?
Like, what occurred in your mind? Like, who can
I go to to have business, to generate business?
Did it occur to you then? It did not. And then
it did not occur to you. Then you just went blindly,
bulldozed your way in. Bulldozed. And then how,
your first commercial paid job that came to you,
what was it? First, it was Mother Mary, if I
remember correctly. Wow. Yeah. That's nice. My
first paid job was Mother Mary for me to take
care of her. Wow, that's marvelous, man. If I
remember correctly, it was Mother Mary. From
there, also, started doing... And this client
was a personal client? Personal client. Ah, okay.
And it was a paid job? Yeah. Yeah, okay. They
came up, they was like, is this Ryan? I was like,
yeah. who's asking? Who's asking? They go so
and so. I say, I got your number from this person
and that person is like, okay, you actually restore
statues. I say, yeah, but I'm not that good.
I told them I'm not that good. He's like, can
you help me to restore this and that? I was like,
bring it down, I'll have a look. If I can do
it, I'll do it. Okay. Then he goes, okay, give
me a few days, I'll bring it back to your place.
Then he brought it down. Had a look at it. We
talked, decided on what to do. How bad was the
condition of the statue? On a scale of 1 to 10,
I would say maybe a 6, 5 or 6. Okay. Not that
bad. Not that bad. There are some statues, actually,
when you touch them, just very likely they fall
off. pieces, chunks fall off. Yeah, because years
of moisture and stuff, you know, but this one
was not that bad. Majority of them were just
scratches, broken chips. Right. Peeling paint.
Right. That kind of stuff. But then, from there,
I started like, you know, I started like, loving
the job more and more and more and after that
particular piece, it's like, okay, I need to
go. pull on in this okay so it was after that
piece yeah then more and more I just wanted to
do it more and more and more and more and more
and I had a friend of mine also started off with
me like hey you should do this you know I was
like ah I can't decide on whether I want to go
full force or maybe just do it part -time. He
said, no, you're good, just do it. But at that
point, you've already left your full -time job.
What do you mean doing it part -time? You don't
have a choice anymore, right? In a sense, I'm
just doing it on an as -a -man basis. But then
I realised I love to do it. That's why I just
stuck with it all the way. Okay, because what
you were drawn to was the passion to just get
it done, right? More or less. And how did you,
how, okay, when a client brings you a piece,
how do you begin the process? What's your initial
assessment like? You take a look at the statue
or the piece that they brought to you. It doesn't
have to be a statue, right? It doesn't have to
be a statue. Most of the time, like, up to date.
I've lost an old phone, you know, just a sidetrack.
One of my old phones screwed up and the whole
backup was gone. I lost about, maybe about 150,
150. Oh, crap. Plus... Contacts. No, not contacts.
Projects done. Yeah, all the before and after.
Wow, gosh. Oh, no. The backups and stuff like
that. So right now, I just passed recently about,
I would say about two weeks, three weeks ago,
I just passed 600 plus statues restored and stuff
restored. Yeah, in the seven years. Wow. So that's
like, what, almost 100 statues a year. Yeah.
Some years it's a lot lesser, but that kind of
stuff. But the thing is, along the lines of,
I'm, how do I put this in a nice way? Doesn't
have to be nice, don't worry. It's like, I wake
up looking forward to the next project. great
yeah so I love in the sense I love to wake up
and look you know for the job instead of like
waking up like fuck I have to go to work right
but nowadays I'm like I want to go and do this
I got this incoming project you know don't feel
so shitty going to I work half -dead. So when
you get a piece like this, a piece that comes
to you, you make an assessment. Yeah. And when
you start working it, you're in the zone. Yeah.
You're just zoning in on that. Most of the time,
I just put on some music, listen to all my old
stuff. Yeah. And then I just be in my small little
workstation in the kitchen and I'll do my work.
How do you assess these things that come into
you? Most of the time, I have to assess what...
material it's made of and how badly damaged is
it right and then what the client wants what
the client needs how much there is left to do
or in the sense was it done before right because
I do get clients bringing me statues that they
have tried to restore themselves or they send
it to someone else right that kind of thing so
I see excess has there ever been any any pieces
come to you where it's completely beyond redemption?
Fucked over real bad. I would say a couple, one
to four. Beyond redemption. I can't even help.
So there were pieces that just cannot be done,
cannot be restored. I do not know how to do it.
Certain projects are like, I'm not going to bullshit
a client. I'll do it, I'll do it, this amount,
this amount, this amount. If I cannot do it,
I'm going to tell you I cannot do it. Right,
right. When you talk about that piece, you know,
funny that you brought it up earlier on in this
conversation. When you talked about, oh, I've
asked my mom whether there's any piece for me
to go work on and you broke the fucking thing.
And then you mentioned somewhere online about
the Kintsugi philosophy. And Kintsugi is a Japanese...
It's the Japanese idea of fixing cracks in ceramics
by using gold thread. Yes. Right? They think
that all cracks should be shown instead of covered.
So if a piece comes to you, it's beyond redemption
and beyond repair. Wouldn't it be all right to
just think of the Kintsugi method? I wouldn't
recommend it for everything. The fact is I don't
use gold as actual gold. The gold thread. I use
paint and stuff like that. Right. Let's take
a look at that piece. Kai, did you flash it earlier
on? Yeah. You did? Let's flash it again. Please.
Thank you. You didn't notice it was you. He's
a flasher, Kai. So this piece came to you like
that. Broke all in pieces. Yeah. This was actually
a glass piece. Oh, wow. Yeah. Glass, huh? Yeah.
Oh, boy. And then you put them back all together.
Yes. Just glue? No, different compounds I made.
Well, okay, now we're getting somewhere. Compounds.
Give me an idea, man. What do you mean by compounds?
I would say I... you know the line fuck around
to find out right if that particular piece is
like okay I'll try this if that doesn't work
I'll try this So, okay, you're going to fuck
around with different kinds of stuff. Yeah. And
then you discover, hey, this works. Yeah. And
then you use it. And then you actually take note
of these compounds and in the future you could
use it for this? I wrote it on the kitchen wall.
What? I wrote it on my kitchen wall. Like, okay,
this and this is very good, very sturdy. How
can you believe this guy can't? I think I have
a picture of your, I don't think I have a picture
of your kitchen wall, you know? I noticed that
there was writing on the wall. We'll come to
that pic, I would think. I think we will come
to that pic later on. And besides statues, one
thing that surprised me, dude, is that I saw
this, I found this particular piece, which is
an oil painting. And I mean, when I saw this,
I was a bit gobsmacked because, you know, I said,
okay, Ryan does all the statue stuff, right?
Okay, then I looked across and see he does all
the brass stuff. Then for fuck's sake, it would
have never occurred to me that you could actually
restore an oil painting. This is quite hard.
You don't say. I didn't have to repaint everything.
This one, I just cleaned it up and everything.
This was actually my mom's, if I remember. This
is your mom's? Yeah. Ah, okay. Hi, ma 'am. Hey,
Yan. Yeah, it was hers, you know, and it was
just hanging in the house for years and years
and years. Right. And then she's like, yeah,
can you help to restore it? It's a nice painting,
actually. Yeah, it is. Yeah. But I didn't paint
it. Whoa. We would be having a different conversation
if you really did paint that. Okay. I took it
down and cleaned it up. How do you... Wait, wait,
wait. You have to explain to me the process.
How did you clean an oil painting up? Don't you
think that you would... I hired some foreign
workers and stuff like that. I'm really going
to throw something at you, man. Fuck it up. Because
in my puny little brain tells me, if you take
an oil on canvas and you clean it up, wouldn't
it run? Yeah, that's the thing. I told my mum
like I did tell my mum I'm about to fucking give
up man I told my mum I don't know how it's going
to come out you know and she's like what do you
mean you don't know you started cleaning it and
she's like this one's sentimental to me how many
years with me you know and you're already cleaning
I started using what please the first time I
used hand sanitizer with a bit of water diluted.
You're not joking. I'm not joking. Wouldn't that
smudge or rub? Very, very small test spot. Oh,
test spot. See, very itchy. Sometimes rubbing
too much gets very itchy. But I did a test spot
and everything and then I was like, no, I can't.
Then I tried something else and then the last
I did was I mixed something and I was like, Mix
something. All these trade secrets, I can't tell
you. And I actually managed to clear off most
of the varnish, the old varnish. Varnish? Yeah,
on the picture. Is that varnish? Yeah. Surprisingly.
You mean, after oil painting, they actually put
varnish? I don't know, but this particular piece,
there was a sheen to the oil and everything.
And you actually knew it was varnish? I suspected.
Okay, so you suspected. The thing is, that one,
when it was clean and everything, I realised
that the colours were all still very bright and
vibrant. I just let it dry. And, what's the word?
Yeah. I'm trying to think of the word. Describe
it. Dry out the piece. Okay. Just let it dry
out. Okay. Right, right. After that, I went to
re -varnish the piece with gloss. With gloss.
Okay, so, but you didn't do anything to the actual
paint. No, I did not. So, it's basically the
varnish that was probably losing its sheen. Yeah.
Wow. So, you discovered that by experimenting,
right? Using hand sanitizer. Right. But that
was the first few months. This guy, I swear,
I thought I was bad. This guy's worse than me.
This is Jesus Granite Stone. How do you decide
when to give a piece a new look? Like this granite
finish you mentioned, you know? What's your creative
process like in these moments? You know, like
you decided to, the original piece looks like
the one, you know, on the left, right? The picture
on the left. But the one on the right looks completely
different from the one on the left because you
decided to give it a granite finish. Yeah. So
what goes through your head? Do you tell, this
is a customer zone, right? Yep. Do you tell the
customer your creative process that I think it
will look nice in granite? This particular client,
if I remember correctly, I've done a couple of
statues for him. If I remember correctly, I mean,
I've done a lot of statues. But then the thing
is, this particular statue was, I looked at it,
it was dull, it was faded. I was like, you want
me to try something for you? He's like, what
do you plan? I said, granite look, make it look
like stone. He's like, would it be matte or glossy?
I said, if you give it a gloss look, it'll be
looking like polished marble or like granite.
He said, okay, go for it. Okay, so I sent him
the picture and everything. Then I told him,
this is how it's going to look like. He's like,
okay, leave it. Don't do anything else. I like
it like that. And how do you make something look
like granite? Very slowly. Kai, I think I need
a whiskey. You got a wine in here, right? Don't
you start, Kai. Wait a minute. I can order whiskey
here? Okay, okay. I know trade secret, but give
me an idea. How do you turn something like that?
What was the material of the statue? That felt
like a very, very hard plastic. Hard plastic?
Yeah, very, very hard plastic. Really? Yeah.
So it was kind of polymer kind of material. Yeah,
polymer more or less. Right, right. Or what is
that called? Like those, you know, vehicles like...
The chassis. Yeah, the plastic. It felt that...
You mean the interior of the vehicles, you mean?
Like, what is that? Turn for it. Like resin or
something? Like resin, okay. I'm guessing. Okay.
You also did the same kind of effect for this
Last Supper granite stone look that you gave
for this one. Yeah. I got to say, man, it's really
nice, man. Thank you. Really nice. So what do
you use to turn it into, give it this granite
look? Don't be a... Don't be a bonnet, okay?
You just can't see. What do you do? I'll be serious.
Yeah, yeah. I use my paint and my paintbrushes.
I actually, that particular method, I do for
granites and brass effects. Right. I do a thing
called dry brushing. Okay. So you layer a colour
down and then you let it dry totally and then
you brush on another layer very lightly. But
to get that kind of toning. And where do you
learn that from, man? This technique, trial and
error. Oh, really? From my own statues at home.
Like, mum, borrow a statue. Why are you going
to do it with another statue? It seems to me
your mum's house has loads of statues, man. Quite
a lot, actually. Sometimes also. When I come
home, I genuflect before I go in the house. Sometimes
I think I'm walking to church. Have you ever
seen me, like, you know, stunt forwards for a
minute? It's about that, right? Oh, gosh. Kai,
I saw you, you were reading a picture about Ryan,
you know, writing on his kitchen wall. I think
it's that picture. Yeah, just know that one.
Yeah, that's the one. Is this the one? It's when
you do your work at home in the kitchen. No one
does any cooking. I love to cook. I love to cook.
How do you cook when you turn your whole kitchen
into a workshop, man? It's just a small little
spot in the kitchen, you know, like closer to
the entrance of the kitchen. And you write on
the wall. Yeah. Using a whiteboard pen, marker.
Most of the time, permanent marker. Yeah, fucking
idiot. I know, right? Because I don't want to
lose the critical information or stuff that I
found out. And your mom gives you the free play
of doing all that. She comes in. Sometimes she
walks in the kitchen, you know. If I were her,
I'd take a deep breath, man. I mean, I'm like...
Be talking to myself, you know, at times. She'll
be like, oh, shit, this one goes here, this one
blah, blah, blah, blah, blah, this one colour,
you know. Then she walks in the kitchen. Rai,
what are you doing? Oh, having a staff meeting.
She's like, I don't want to talk to you. She
just falls off. Okay, I know that you leave a
small part of each piece in its original state,
right? Why do you do that? From day one, I was
just inclined to do that because from the first
few statues I started, if I'm going to restore
a full statue, people will forget. How it was
like prior. Well, that's clever. How much it's
been through their life, their sentimental value.
But it's not like, say for myself, I'm painting
everything. I don't leave one whole big patch.
I leave maybe the lower lip or the eyelids or
a sacred heart, maybe the flame. Very, very small,
minor details. But the thing is, I don't want
people to forget the statue in the sense like...
the past, how many years it's been with them.
But it's become your trademark. Yeah. It's like
an artisan's trademark. I would guess so. Okay.
I mean, some people would just put a small little
initial somewhere. But you have to leave an eyelid,
leave a bit of the mouth. Sometimes leave a mole,
sometimes I dye my hair. Okay, dye hair. Okay.
But that's my trademark. Oh, gosh. Okay, that's
your trademark. But do clients appreciate the
fact that you do leave something that's undone?
Yes. They do. They do. They don't complain. I
would say 97, 98 % of them, they are okay with
it. But the difference of those are a bunch of
assholes. Not really. All my clients are nice.
Okay. So you say. So the small percentage just
says, no, Ryan. Do they say that? No, Ryan. Please
restore that too. Do they do that? That's what
she said. Oh, boy. There are some clients that
actually want it totally restored. I said, but
this is my trademark. Then they said, but we
don't want it like that. I said, I'll try and
see what I can work around. But the thing, I
give them a full restoration and then I do maybe
like... So far, I've only encountered like two
or three of these kind of things. Even get some
clients also, I do a completed job for them and
say, oh, this one, don't post it online. It's
like, why? Oh, the family don't know it broke.
It just broke and come to you for repairs. Oh,
so they don't want to pecah lubang. Okay, okay,
okay. Want to keep it as kosher as possible,
I suppose. Of all the materials you work with,
man, I mean, I heard a lot now. I mean, the resin
stuff that you turn into, granite stone look,
you know, you got the brass, then you've got
the fiber, fiberglass, you've got glass, and
you got stone as well, right? So what's the most,
of all these, of all the materials you work with,
which is the most challenging? I would say ceramic
porcelain. Why? Because they're fragile? Very
fragile, yeah. Okay. Too fragile, you know, and
I'm not, say, the most gentle person. I'm quite
rough, actually. What the fuck, bro? You're doing
restoration, you're telling me you're not the
most gentle person. Honestly, you know, like,
I do tend to have heavier grip and stuff like
that. Right. Even your skin. Check out my phone.
I'm using this kind of phone. What the fuck is
that, bro? It's a brick. It's not a freaking
phone. What the hell is this? Shockproof, waterproof
and stuff like that. Yeah, but what is this?
Oh, wow. Is this a case or is this a phone? It's
a phone, yeah. What? It's a satellite phone.
Yeah. What phone is this, bro? Oh, sorry, Ulephone.
Is it what? Ulephone or Ulephone. Ulephone is...
Really? Yeah. It's this. What the hell? Because,
like, I tend to be very rough. Even, like...
Yeah, I like it, man. Thanks, man. I like big
stuff, man. Shut the fuck up. I know where you're
going. I shouldn't have said that. I just opened
the door. Yep. I'm okay. I asked for that one.
So, like, I get this kind of phone, so it's more
sturdy. Okay. Can we wait for the phone so we
can get back to the ceramics, please? I've broken
phones just by opening them, you know. Okay.
So, it's heavy. Yeah, okay. The ceramics, bro.
But you do still work on ceramics, right? Regardless.
I do, but if... I can. And you probably charge
more for that. Not really. It depends on my work.
Right. I charge based on not the size. You charge
on the labor. On the labor. What I need to do,
what the client wants done. And your materials.
Of course, yeah. And the workmanship. Right.
How much time it takes. Everything I have to
take into consideration. Okay. Yeah, but sometimes
a small statue. It can cost more than a big statue.
Because it's a lot of detail, small due to intricate.
So it really depends. That doesn't mean it's
a big statue is going to cost more, a small statue
is going to cost less. There was a crown. There
was a crown you done. I think it was for the
infant Jesus. The crown of the infant Jesus,
if I'm not mistaken. And you said that you had
to go through ultrasonic, you had to go through
ultrasonic cleaning. Yeah. This one. Yep. What's
ultrasonic cleaning? You know, the kind of...
Ultrasonic, yeah. They use for cleaning jewellery,
cleaning specs and stuff like that. I have a
proper industrial one that will not do PKS. What
does it do? It generates a certain wave... Frequency.
Frequency and stuff like that and it vibrates
and the dirt comes off. Really? Yeah. But that
particular piece... Particular piece, yeah. I...
I went on to shine it up after the cleaning.
I hand polished everything up. But it's really
nice, man. Thank you. I mean, I went through
a lot of stuff. I had to research you and I looked
at your work, right? I mean, the stuff I put
up on the show today are things that I'm impressed
with. Thank you. Yeah? And that's why I want
to make sure that I talk about them. Sentimental
value of these pieces. Can you share a specific
story that really touched you? Because you have
to handle all of that emotional weight, right,
of restoring items that are precious to people.
It's quite a weight of responsibility on your
shoulders, right? No, I wouldn't call it a weight.
privilege it's a privilege privilege I wouldn't
say a curse or a blessing but it's just part
and parcel you know but the thing is okay there's
one that actually caught my attention okay for
sentimental valueless and this client and I she
came up to me with a statue and everything it's
on my Facebook the company page I actually wrote
out everything about this particular statue right
so this particular piece came into me Mother
Mary. The eyes is quite a long story but I'll
try and summarise it. Yeah, sure, sure. Go ahead.
The eyes were deflated. You know, and then it's
just old and falling apart and everything like
that. So this particular statue was with the
client for very, very, very long. From her first
house and from her parents and stuff like that,
this Mother Mary. So it's a passed down heirloom.
Yeah, but the thing is when I got it, it's like
both of us couldn't decide the colour. Okay.
I couldn't decide the color. I didn't know what
to do with it. And then she also didn't decide
the color because it was so faded, no more color
and everything. And then there were holes on
the back of the statue and stuff. How big was
the statue, man? Just around this size. Okay,
okay. About maybe six, seven inches. Right. Then
that particular piece was quite meaningful to
me in the sense when I restored it. I broke it
off. I broke her off and her neck, you know,
because there were bubbles and I got, God knows
what was inside. So when I broke it off, there
were actually eggs, insect eggs and everything.
And I realised that her eyes wasn't depressed.
It was actually a nest, like, inside her eyes.
And the statue was filled with insects and stuff.
Oh dear. Broke her off, cleaned her up and everything.
Put her there and everything. And then left her
to dry and stuff. I think the second day before
I could even start, it was just on the table.
Mother Mary statue and it just fell back. No
one was around the table. And all of us were
looking at the table and we all look at each
other, you know. No one touched the table. The
table, everything was perfect. It just dropped
and broke. Broke at the bottom. I broke the top
but the bottom broke off. Okay. Because of the
fall. Yeah. Yeah, I looked at the statue. I looked
at my dad like, how does the statue break at
the bottom? And he felt like on his head, on
her head. He's like, have a look, right? I found
out that the whole base. It was infested with
eggs and more dead insects and stuff. What kind
of insects were these, man? God knows, man. I
didn't want to do research on it. I cleared up
the eggs and everything. Cleared up the eggs
and whatnot. The bubbles, like a nest and everything.
I cleared everything. So in my head, I was thinking,
I just had a feeling that Mother Mary was like,
you help me to clean this also while you're at
it. do me a favour, make me nice again. Very
strong feeling. The thing is, I fixed her back
and restored her back as per normal. Right. And
I still couldn't decide on what I was going to
do and what not. Then, during, just about, if
I remember correctly, it was 7 plus 8, there
was a, I heard humming in my ear. I'm not joking.
I shit you not. What kind of humming? Something
like, It was a tune. Yeah, it was a tune. And
then I was like, I asked my mom and dad, y 'all
can hear that? And my dad looks at me, he's been
drinking. Then I said, no, joke aside, then I
said, I don't drink during work. Then he said,
I know lah. I said, I don't drink during work,
but y 'all can hear that? Then he's like, uh,
no. Then he meets the TV, he switches off the
fan. Then I was like, mom, y 'all cannot hear
that? Then he's like, no. Then I heard the humming
of one person and became two people. Then three
or four. Then after that, it became a choir.
Yeah, I shit you not. Really? And the song they
were humming too was A Purist of Creatures. Okay.
And then from the humming, it actually changed
the words in my head. I could hear the whole
song perfectly. The A Purist of Creatures. Yeah,
yeah. Ave, ave. Yeah. Ave Maria. Yeah. And you
were hearing in your head or you were hearing
in your ears? It's just here. I could hear it.
And then like... Oh, wow. I broke down like a
little girl. Like a little girl. I broke down.
I couldn't even do my work. I was like, Mother
Mary, tomorrow I carry on. I cannot do anything.
I just left it. It's just like that. I couldn't
do anything more. I couldn't even paint. I couldn't
do anything. And then the thing is like, brain
wasn't there. Brain wasn't breathing. The next
day, I was watching TV. I left the statue there
because the biggest fan was in the hall. So I
was just there, it's like taking all my pain,
getting ready to start work. And my dad puts
on a show on TV. And this is the statue I mentioned
earlier that both of the client, the client myself
cannot decide on the color scheme, you know?
Right. So I was like, just left it there, I was
like watching TV, you know? But after a while,
I was like, I said, okay, I'm going to start
work. Then, no, I'm, sounds stupid, it sounds
very stupid, but I painted a statue. The whole
statue. Okay. I didn't even realize I painted
the statue. I'm not joking at all. What do you
mean you didn't realize? I don't understand.
I didn't even realize I was painting the statue.
I was watching TV. So you were painting while
you were watching and not even looking at the
statue? Not even looking. And you were just instinctively
going on? Yeah. That's the one that touched me
the most. Right. And then when I was completed,
I was like, oh, shit. I never even told the client.
Divine guidance. No, I didn't tell the client
what colors and everything. I was like, oh, I
never even chose the colors. And then I was like,
well, how do I go about this, you know? And I
looked at my mom and dad, my dad's like, Mother
Mary chose the colors, don't worry. Yeah, I think
so too. If you say so, I don't know what to do.
I called my client up, I said, yeah, I sent you
a picture, your statue is done. Huh? You chose
the color already? I said, I didn't choose, Mother
Mary chose the colors, you know? Send me a picture.
I sent her the picture, she said, don't change
anything at all, I want it back like that. She's
very happy with it and everything. So she, Two,
three days later, she came and collected the
statue. She broke down. She was so nice, so happy.
Cannot recognize the statue. Then I told her
what happened. Then she's like, oh. Then she
started tearing up a little bit. Then she took
the statue home and everything like that. About
three, four hours later, she called me, you know,
crying on the phone. I'm like, alamak, the statue
broke. Shit, what happened? thing broke up. She
said, no, her father for about 20 years hasn't
been to church, hasn't prayed and everything.
When he came home that day after work, he looked
at the statue, he knelt down and prayed. Wow.
After years. Kai, we got to get that picture,
Kai, in post and put it up, yeah? Picture of
the... Of the... Yeah, of the statue. Alright,
sure. We got to take note of that, put it in
post. I need to find that picture. That particular
piece, Until today, it was a soft spot for me.
Ah, what a hell of a story, man. Thanks for sharing
that. No worries, no worries. Really. Let's talk
about the business. Running a business like this,
in this very niche field, must have challenges,
definitely. Yeah, there is. Quite a number, actually.
Can you name a few? Most of your clients are
churches and schools. Churches, schools, temples.
Temples. Majority of my clients are all of the
older, older, older segment in the age group
yeah okay but uh most of them were brought up
or like knowing not to throw stuff you know like
oh it's all we keep it We use it until it can't
be used. And nowadays, more or less, the newer
generations are like, all broken. Murry condo.
All doing the murry condo. Yeah, yeah. Throw
away. All that kind of stuff. Little bit of chip,
they throw it away. There's no more sentimental
value. But the thing is like, I would say, I
guess, the problems I face, you know, is... people
do know what I do, but not a lot of people. You
know, sometimes I tell people what I'm doing,
there's a job that does this. It's like, yeah,
I wouldn't say people not knowing, you know,
I would say they don't know much. There's actually
an occupation or a job. Right. There's a trade
like this. There's a trade like that, yeah. Right.
I would say that, I wouldn't, I would even say
some, some, some problems would be like, If I
can do it, I'll do it up for you. But the thing
is, you cannot get it back to 100%. Some things
are just... Cannot be 100 % brand new for sure.
Some of them also have to play along the parts
of... what they want you know what the client
wants I find that I wouldn't say a problem but
sometimes it's like what I can do I can do you
know sometimes you ask for the sky and the moon
I can't do that you know right but they understand
when I explain to them this then the other I
can't do this you know I don't take on the project
if I cannot do it you know I wouldn't say oh
yeah I can do it like I mentioned earlier I wouldn't
yeah I do for you I do for you but I cannot do
it that kind of stuff or like even space is also
a bit of an issue. Because like I said, I work
from the kitchen. Unless it's a big project or
a side project, I go down to the school, I go
down to the church and do that stuff. On site?
Yeah, on site. Okay. So you do your work on site
as well? Yes, I do. Okay. Like I said, churches,
temples, schools, all that kind of stuff. Then
I, or if a statue is too big to bring home, then
yeah, but the thing is, problem, I would say
space. In the sense, some statues are too big
to even come into the house. Right. Then, space
some sometimes will be time like those very urgent
projects you know like I get I do get clients
who they want to do their prayers on Thursday
and they're moving stuff from one temple or one
church to another church or something on the
way it breaks and then I got two days to do the
thing that kind of oh yeah I do it I do it oh
okay yeah but the thing is like that kind of
thing is stressful but I love my job. I'm used
to it and this kind of thing. But I wouldn't
say it's a problem. But problem -wise, I would
say... It's an occupational hazard. Yeah. But
being Catholic, and you mentioned temples, of
course, you don't limit yourself to just doing
work for the Catholic Church. I don't. Because
I've had customers come up to me like, hey, what
are you doing for another religion? Then I say,
what are you going to do? Then I say, it's my
job, one. And two, why are you going to pay me?
You pay me lah. Then I don't do for anyone. And
the husband say, I have people's job. Let them
do lah. The thing is for me, Roman Catholic,
blah, blah, blah. Too much judgments. Too much
judgments. I do for Hindu statues, Buddhist statues.
I'm done. But for me, we all bleed red. I feel
you can pray to so -and -so, you can pray to
so -and -so. You're doing a job. You're not worshipping
these things anyway, right? The thing is, if
I can make someone happy for their religion.
Yeah, yeah, why not? Why not? Yeah, yeah. I'm
glad that you're looking at it that way, man,
because it's for someone else to be. to be happy.
Yeah, true. Right? You know, for other people,
other faiths, I mean, why the heck not? But other
than religious artifacts and are there any other
things outside of faith and religion that you
restore? Statues that are men embracing a woman,
singers sewing machines once in a while. Yeah,
a charcoal iron. huh charcoal iron why do you
put charcoal it's like restore that kind of stuff
right the brass one the brass iron and the old
singer washing machine washing machine sewing
machines okay those are the types that they say
please don't post this online or blah blah blah
oh you want to talk about it but don't mention
so and so is that okay right right thing yeah
right brass polishing tarnish sewer that kind
of stuff hmm Unique stuff. I did one at Muscat
Street. Okay. For the Consulate of Oman. Yes.
That was a total out -of -the -box thing. It
was a tile. But it was... A tile of what? A tile
on the wall? On the road. It's next to Masjid
Sultan. Okay. So this particular, from what I
know, from what I remember, this particular project,
no one wanted to take for very, very long because
it was that fragile. And then they contacted
me through their middleman and everything. I
was doing my work. Call comes in. Hey, bro, how
are you? I was like, yeah, fine, thank you. This,
that, and the other. Talking to him, long story.
Then he says, oh, so and so, I'm talking. I was
like, okay. I was thinking it was my old friend
from God knows when. Okay. Talking to him like
my best friend. But you actually don't know the
guy. I tell you. He's a middleman for the embassy.
Right. Shit. Like, okay. What are you doing?
I say, relaxing because that particular time
I went for surgery, I was resting at home, you
know, then he's like, one of these days you come
down and swing by. I say, okay, I'll come down
and check it out. So when I went to meet him,
I was actually with crutches and the whole case
and everything, the cast. I was like, eh, not
even recovered, you come out. I say, work is
work. That kind of thing. So I took that project
but it was very unique in the sense. Like I said,
from what I remember, what I know, no one wanted
to take that. Too fragile. I look around and
like... What material is it? Ceramic? Yeah, ceramic.
Okay. So, the country was... The location was
in the wrong spot for years, you know. The location
was... Can we flash that picture up, please?
The Consulate of Oman. That one, that picture,
right? It's this, yeah. Yeah, okay. Is that the
one? Yep. Okay. What do you mean the country's
in the wrong place? There's a place, I don't
know if you can see to the left, the left of
the picture, there's a small little patch that's
whiter than the others. Yep, yep. Yeah, that
particular spot there. Okay. Yeah, it was in
the wrong, like, just a matter of north and south
kind of thing, like the particular pin of the
country was in the wrong spot. Right. Yeah. Okay.
The red dot, they said, the little red dot. Little
red dot, okay. Below Muscat. Muscat, yeah. The
one on the left side of the screen. Okay. So
that was quite interesting because I've never
done something like that. But you got it done.
And that's how the consulate of Oman gave you
a letter of appreciation. Right? Yeah. Wow. Yeah.
It was very fun, you know. The people over there,
like, not just the people from the consulate
and the people on the streets, you know, in the
area, they were all very nice, you know. Yeah,
I'm pretty sure, man. It's almost a vibrant area.
Yes. Hey, how are you? It's fucking wet in the
sun. Hey, I'll offer you a drink of water. Yeah,
wow. That's nice. That's why it's very meaningful.
It's like, it was fun doing that piece. You know,
all the work that you do, the artistic side of
the work that you do, and let's say it now, your
company that you've established is called Oracle
Restorations, right? There you go. Oracle Repair
and Restoration. People, any one of you who need
any work or any help on your sentimental items
or even religious artifacts, this is the company
to go to. Look for Ryan O 'Hara, okay? The artistic
side we've heard so far, how do you balance the
business side of this, man? I mean, do you do
any marketing at all? Do you? To be honest, most
of it, most of my revenue and work coming in,
right? All right. Word of mouth. Okay. Facebook,
Instagram. And I came out in the straights times.
Like a year or two ago. Wow. That's the only
forms of advertising I have. No running of advertisements,
no nothing. But you're still getting a steady
stream of business coming into you? Here and
there. Honestly, here and there. Okay. Some days
I go, some days it's just quiet. I wouldn't say,
oh yeah, there's a lot of business. But I would.
Would say sometimes it's quiet, sometimes it's
not quiet. What happens if there are people from,
say, for example, from the region, from Malaysia,
from Indonesia, if they got artifacts or items
they want restored, can they send it over to
you to get it done? I should guess so. Okay.
So all my viewers and listeners from Indonesia,
from the Philippines and Malaysia, if you've
got anything that you need restored, just give
a buzz. to ryan okay and you can send your stuff
over and you can get it done for you uh because
we've got i mean we've got 72 000 plus subscribers
now and uh i know for a fact that we got loads
of them for out of indonesia and philippines
and malaysia so yeah so if you could do that
it'd be great you know so please do give him
a buzz yeah if you've got anything that you need
restored what advice would you give ryan to someone
who wants to learn restoration skills Or are
you going to keep your cards too fucking close
to your chest and go, I'm not going to tell you
how to do Grand Night Look and all that. Trade
secrets. I would honestly say, don't do it for
the money. Do it from your heart. going to look
at it in the sense like, money is money. It's
a need. Everybody needs money and shit like that.
But is it feeding you and your family, man, the
business? Yes. I've been doing this, like I said,
seven years. Some months, I'm tight. I won't
lie. Some months, I'm just tight. Some months,
I'm okay. Some months, I'm not. But the thing
is like, if someone wants to go into this line,
I say, go ahead. Don't even have to take it from
me, but you have my full support. If you can
do, go ahead. Wouldn't you want to take on an
apprentice or open up a larger space? workspace.
I would love to, but capital. Mainly it's capital.
Other than that, it's still on the... I wouldn't
say scared, but still just monitoring the situation.
Don't want to take another huge leap. I don't
want to over -expand and screw up. There's wisdom
there, man. There's wisdom there. We were talking
about earlier that outside of being Catholic,
I mean, you're being Catholic and outside of
that, as a trade and as a profession, you also
take on works of other religions and all that.
I just want to spend a moment to just flash some
of the work that you've done, say for the Hindu
temple, right? Oh, this one was for my house.
Ah, okay. It's for a home. A home. So this is
a personal sentimental or personal sentimental
value. Yes. Okay, that's Baby Murugan, right?
Yes. I changed the color. of the lotus according
to the family because they had four of them.
Two of the family members, the mother and the
sister, they liked the light purple. The other
two of them liked dark purple. So I changed the
entire lotus. Oh, so to please everyone. Oh,
that's nice. You've also done baby elephants
as well. Yes, Ganesha. No, this wasn't Ganesha.
This was next to the statue of Baby Murugan.
So it's like Baby Murugan and then there's two
of these. Right. Okay. Now, I've only got two
more questions left for you, man. Anything that's
forward -moving. You mentioned in your, I think,
your Straits Times interview that your dreams
are doing overseas projects and helping rebuild
places of worship after disasters. Why? What
is driving that desire? I would love to help
people more in the sense like... where they define
comfort and solace in their places of religion
or like run down temples I would love to like
so the next generation when I'm gone at least
they got something to see you know and as in
if it's all old and deteriorated you know under
this under this rough exterior all the freaking
you know all the freaking the comedian the comedian
exterior of you there is someone who actually
cares for people So come on, don't be shy about
that shit, okay? I mean, you've got a heart,
right? I mean, you've got a heart, man. You know,
and that's the reason why I like you, man. Because
you are who you are, you know, and you're real.
And you've got a heart, right? And I appreciate
that. Really, I do. I appreciate that also. What's
the most fulfilling part of what you do to say,
I love my job? To be very frank, I would actually
say it was when I give back a completed statue
and the expression on someone's face. They get
stunned. They think it's a new statue. Oh, you
did this for me? Wow. That's the fulfillment.
Yeah. Surprisingly. And you do love your job.
I love my job. I mean, I love my job, but...
that is one of the things that drives me more
and more you know I try to be better try to practice
more so I can give people better products out
and stuff like that so they can I can actually
see them go like oh you know or like some of
them actually cry you know when you get their
shoes back and stuff like that's the thing that
makes me very happy when I see they are very
grateful and they appreciate what I do and do
you want to continue doing this for as long as
you can I would love to Will you see yourself
doing that? Yeah. I see myself becoming an old
man like you and still doing the same thing.
Shut the fuck up, bro. I'm not old. Shut the
fuck up. One thing you can't do is to restore
this face. Some things are better left untouched.
Oh, man. Really. Anyway, I got to say, man, it's
been fun talking to you. It's really been fun,
man. I really wish you the best. I wish you all
the best, all the very best, mate. I really,
really appreciate it. No, no, no worries at all,
man. I mean, I think it's a very interesting
trade you're doing. I think you're doing this
with all heart. Yeah. You really, you really
wear your heart on your sleeve, man. You put
it all out there, man. I mean, really appreciate
that. And I like people who was, who is just
damn direct. Fuck off you, man. Old man, my ass.
But thanks for being on the show. Um, Once again,
everyone, it's my pleasure, really. Can I have
a mic? Thank you. Okay, you've heard lots of
things that we talked about between Ryan and
myself. Ryan's from Oracle, and he does restoration
of stuff that you love, okay? And if you really
need something restored... All you have to do
is just go to find Oracle and get to Ryan, okay,
and send your precious mementos over, statues
over, and he will help you restore them. You've
been watching The Chris Hansen Conversation,
and we are almost, almost coming towards the
last quarter of this Season 5. Until the next
episode, stay safe, everybody. Bye -bye. The
Chris Hansen Conversation. No scripts. No filters.
Just real talk. The most authentic conversations
in Singapore.