A bleak, wintry landscape with denuded trees and snow underfoot, much too cold for one to venture into the woods, what more in the buff though with the man back to viewer. The numbing cold is used as a metaphor for being alone, lost and alienated even and certainly confused – probably the emotions gripping him during a two-month residency in Vermont (plus a two-week travel grant to New York) in the United States in 2004. It’s also about how humans and Nature relate in the age of the Anthropocene. The scene is described by academician-critic Carmen Nge in her article, Ahmad Fuad Osman: Evolution On his Own Terms: “… a lone man blithely encountering a stark, wintry locale entirely in the buff… his unclothed state is neither aesthecised nor idealised… A stronger in a foreign locale, Fuad himself was unused to the harsh, wintry climate… the naked body also signals an openness, a willingness to shrug off prior affiliations and identities so as to embrace the new environment.” Fuad started doing figures in 1994 and progressed to nudes in 2002 and male nudes in 2004. Fuad is a member of the cult Matahati artist’s collective. He had residency in Rimbun Dahan (2007-2008), Goyang, Korea (2005-2006), and Vermont, USA (2004). He won the Juror’s Choice in the Asean Art Awards (Malaysia level) in 2000 and 2003, and the APB Signature Art Prize (Singapore), in 2008.