Once upon a time in Kelantan, men and women were able to work together, sometimes not fully clothed like today, on shore when the fishermen returned from the sea with their haul. Quick hands make fast work, and so before it gets dark, the nets can be kept, the fishes and other catches sorted out, and they can have their meal and rest and then nightcap. Maybe that is the reason for Khalil Ibrahim to use bright Pop colour contrasts playing on skin tones and silhouettes of torsos and clothes, reminiscing on simpler times unfettered by the PAS religious strictures where now, men and women have to be segregated in supermarket paying lanes. This is a more graceful composition as opposed to his more robust renditions in male-only scenarios. Khalil Ibrahim is truly one of Malaysia’s most gifted artist dexterous in all media and a great colourist versatile in figures and landscapes. His winning the 2nd Prize in the Malayan Life competition in 1959 led to his cinching a Pahang State scholarship to study at the St. Martins School of Art in London where he graduated with a NDD (National Diploma of Design) in 1963 and followed up with a two-year postgraduate studies. On his return, he was relieved of his contract and he had been a fulltime artist since September 1966. He was given a double solo of his London works and Malaysian batiks at the Samat Art Gallery in 1970. He was the first Malaysian to have a solo in Indonesia in 1970. He co-founded the Malaysian Watercolour Society. His major solos included Khalil Ibrahim: The Art Journey in Petaling Jaya (2015), and Khalil Ibrahim: A Continued Dialogue at Galeri Petronas in 2004. He has also been featured in major national exhibitions abroad.