Loo Foh Sang’s 1967 The Man And The Woman absorbs loosely from the Futurists (like Gino Severini) and the obscure Section d’Or (Golden Section) group with the projection of mechanistic representations presaging the age of the robots. The notion was fueled by advanced printmaking techniques pushed by Sir Stanley William Hayter in his Atelier 17. Foh Sang studied under Hayter when he was simultaneously studying at the Ecole Nationale Superieure des Beaux Arts in Paris (1966-69) after a stint at the Nanyang Academy of Fine Art in Singapore (1963-65). The dull brown tones also simulate the metal quality, rust et al, besides exuding a hard, detached exterior. “The symbiosis of Eastern and Western inclinations that has synthesised into Loo’s original style can be attributed to the influences of Cheong Soo-pieng and S.W. Hayter,” wrote Rahime Harun, a former director-general of the National Art Gallery Malaysia. Foh Sang is an accomplished master printmaker who apprenticed under Sir William Hayter at Atelier 17. He was accorded a retrospective-level exhibition, The Untiring Engraver, at Wisma Kebudayaan Soka Gakkai Malaysia in June 2014. His printmaking skills and practice saw him jury in several international competitions chiefly the 3rd International Print Triennial in Bitola, Macedonia, in 2000. He was instrumental in setting up the printmaking workshops in the Malaysian Institute of Art and later the Central Academy of Art. Since 1996, he has also organised several international printmaking exhibitions at home.