For one originally denigrating Figures as espoused by Dato' Hoessein Enas' Angkatan Pelukis SeMalaysia, Redza Piyadasa did a dramatic about-turn in his Malaysian Series in 1982 which proved to be indelible in his own art, especially after the highfalutin Conceptual foray in Towards A Mystical Reality with Sulaiman Esa in 1974. His repertoire of readymade studio-portrait figures and architectural facades as his art template appropriated Photography imbued with nostalgia and historical angst. He silkscreened several copies and slightly remastered them with different colour embellishments with a luminous sheen, re-ordered the ‘designs' and sometimes collaged with psychedelic strips of paper or fabric. The bride seated on a carved wooden chair is adorned with a headdress with tassels while a large keronsang (brooch) holds the blouse together at the plunging neckline. Art historian-artist Redza Piyadasa was accorded a Retrospective by the National Art Gallery in Kuala Lumpur in 2001. He won the Major Prize in the Malaysian Landscape competition in 1974, and was joint winner of the Minor Award with Lee Kian Seng in the 1979 Salon Malaysia. On the international front, he won the Prince Claus Award in 1998 for his contributions. He was also given the Australian Cultural Award (1987) and the Japan Foundation Travel Award (1992). He was also a co-founder of the Five Arts Centre in 1983. In 1991, he was artist-in-residence at the Canberra Institute of the Arts. Academic-wise, he received his MFA from the University of Hawaii in Honolulu in 1977 after studying at Hornsey (1967) and Brinsford Lodge (1959) in Britain.