The tableaux of two female figures, often in abstract, is one of the trademarks of Khoo Sui-hoe’s oeuvre, probably because of the Chinese belief of pairs being auspicious, whether monolithic or in contrast. This work was one of five derived from one same sketch based on similar postures, which he traced with transparency and modified. The figures may be standing, sitting, reclining or literally flying, but varied to suggest resting or dancing, either complement or interacting with each other. The figures are often set in the open, with tropical lushness, but simplified, set in the mould of Man and his affinity with his natural environs. Flushed against three palm-leaf patterns which seemed to support the figures and with the horizon and sky pushed to a thin strip above, the focus is on the eternal beauty of the women with their hourglass physique. A 1st Prize (Oil) in the Malaysian Art and Craft competition in 1965 and a Honourable Mention in the prestigious Salon Malaysia in 1969, are enough to set Khoo Sui-hoe on the right path in art after graduating from the Nanyang Academy of Fine Art in Singapore in 1961. In 1974, he received the John D Rockefeller III Fund award to study at the Pratt Graphic Centre in New York. Sui-hoe is also the spiritual leader of the Utara Group, formed in 1977, and he was also in charge of the Alpha Gallery Singapore in 1972, which was revived in Penang in 2004 as the Alpha Utara Gallery. In 1978, the Penang Museum Board gave him a solo, of his works from 1963-73, and in 2007, the Penang State Art Gallery honoured him with a Retrospective called `, which was followed by a mini retrospective of his works from 1967-2013, by The Art Gallery Penang, in 2013. In 2015, he held a two-part An Overview exhibition at the Private Museum, based on works still with him and those in the collection of Datuk Seri Lim Chong Keat.