“There is no art to find the mind’s construction in the face.” Act I, Scene IV. Macbeth, by William Shakespeare. (King Duncan was speaking to his son, Malcolm, about the Thane of Cawdor and his treason. Ironically, as he spoke this, Macbeth, strode in). John Lee Joo For’s faces, blown up Easter Island-like, are more about relationships, although the meanings are ambiguous. Outlines form a kind of detachment despite the kissing-range proximity: there is a white space, even, from the inside ‘rouge.’ To John Lee, love is only between a man and a woman, but trust is something between the loved couple and is left to circumstances. John Lee Joo For was an outstanding creative genius. He was an artist-printmaker, a novelist and playwright, a drama director and producer, an academician and activist (he co-founded the Malayan Art Circle in London in 1961, the Thursday Art Group in Penang and the Penang Teachers Art Circle). Joo For obtained his National Diploma of Design certificate at the Camberwell College of Art in London in 1959-62, and studied Graphic Art at the Royal College of Art, from 1962-1964. He taught at the St Xavier’s Institution and Penang Free School in Penang, the Specialist Teachers Training Institute in Kuala Lumpur, and Art and Media Studies in Australia. He had won the Best Playwright Award from 1969 to 1971, and was known for his plays like The Propitious Kidnapping of the Cultured Daughter and Son of Zen. After migrating to Australia in 1973, he saw major success in his Broadway-style Christian musical, Call of Guadalupe. He was working on another, Mary Magdalene: Wanton Saint, but died of thyroid cancer on June 11, 2017.