Cheong Laitong's art oeuvre did evolve, contrary to what the inconsequential dilettante thought. From the 1960s raw pathos of marsh colours, his palette veered to contemporary idioms, forms and slightly brighter colours. He chose the then prevalent Abstract Expressionism to start his abstract stance in 1962, sluiced into a brighter palette in the 1970s reflecting his steadier economic life and that of the country. His early calligraphic matrix had also given way to some kind of lazy patterning and like this work, larger expanse of monochromes with some loose artefactal definitions, in a dance costume perhaps. This work was probably from his Laitong '81 solo exhibition at Universiti Malaya in 1981. But his works always retained a kind of luminous glow, for even in his onerous duties as a creative director (regional) and later, free to devote fulltime back into fine art. Though initially referencing his 1960s working formula, Laitong struck free into new terrain, and with this, at a glance looking so batik-ish. His self-identity can be gleaned from his fine draughtsmanship, which saw him winning many awards for design and marketing, when he was a creative director from 1963 to 1992 and regional from 1992-1995. And as always, you can imagine the distant strains of classical music in the air, which had set the mood when painting. Cheong Laitong is best remembered as one of the Magnificent 7 artist-heroes from the landmark abstract 1967 GRUP exhibition (it was reprised as REGRUP - 30 Years On in 1997). With Major Awards for Painting in the 1st (1969) and 2nd (1979) Salon Malaysia - no easy task in a national-level competition, he also achieved early fame as one of the outstanding artists of the Wednesday Art Group formed by Peter Harris. He had also won several mural competitions like at Istana Alam Shah in Klang (1958), Muzium Negara (1962) and Hong Kong & Shanghai Bank, KL (1962). He had short stints as USIS Exchange scholar at the Skowhegan School of Art in the United States (1960), followed by the LCC Central Art School in London (1961). His works were selected for major Malaysian exhibitions abroad like the Commonwealth Art Today in London (1962-1963); Malaysian Art touring Europe (1965-1966); 1st and 4th Triennial of Contemporary World Art, New Delhi (1968 and 1978); the Sao Paulo Biennale (1969); and Man And His World in Montreal, Canada (1970). He had the distinction of having the opening of his third solo at Galeri 11, Kuala Lumpur, on May 13, 1969. "It opened at 3pm. At 7pm, the racial riot started," Cheong had recalled. The tragedy has left an indelible mark on the history of Malaysia.