In tandem with his better known works of quaint architectural facades, Lui Cheng Thak has earnestly pursued a suit of portraits of traditional dying occupations. Which could be why he was commissioned to do this, an amah (an olden-day domestic help or maidservant, who was usually made to wear a white starched uniform), giving another amah a haircut near the entrance to a staircase. Lui painted this with a whiff of nostalgia as it was from an old photograph on the five-foot-way of a Singapore Chinatown building. The one cutting, with the hair bunched in a sanggul (bun), is standing back to viewer, while the one with the hair cut, with one leg crossed and side to viewer, is seated on a tall tin as a chair. Lui studied at the Kuala Lumpur College of Art from 1987-1989. His early solos were As I Was Passing (Hotel Istana, organised by Pelita Hati), Our Heritage (Rusli Hashim Fine Art, 2001), As I Was Passing II (Galeri Citra, 2006), Cicles: Nostalgia and Collective Memory (White Box Publika, 2014. This was followed by seven consecutive solos with PINKGUY Gallery, the last being Endless in 2017. His recent solo exhibition Day & Night featured his first series of work painted in black and white at 28 BLVD Gallery. He had a record of sort in his Redeem solo exhibition at PINKGUY in 2014 when all 12 works were sold within 18 minutes of opening!