This must have been an after-thought Topeng with all the theatricality of his subsequent Wayang series. Set in a backdrop like a composite cable of yellow, red and white, the masks are no longer static, equipped with audio-visual capability. First inspired by the masks of Kayan (hudoq) and Kenyah when Yusof Ghani visited Sarawak in 1988 and 1991, the masks which started around 1993 took on more grotesque forms after he visited South Africa in 1994. The masks no longer are static display objects albeit with talismanic quality. It’s interesting to note that Yusof showed the Topeng-Wayang transition at the Jenkins Johnson Gallery in San Francisco in 1997. Yusof Ghani has the distinction of bypassing the Mara Institute of Technology (ITM) training mill but went straight for his BA (Graphic Art), George Mason University in Virginia, USA (1981) and MFA (Painting) at the Catholic University, Washington, USA (1983). He has since produced several notable art series — Tari, Topeng, Wayang, Hijau, Biring, Wajah, Ombak and Segerak. He had solos at home and abroad in the United States and London (Transcendent Figures, Asia House, London, 2017). Curate Henry Butcher with partners Galeri Prima and Pinkguy Gallery organised Segerak VIII: Utopia, the final edition of Segerak series, in August 2019. The exhibition received good responses.