This work is among the genesis of Datuk Ibrahim Hussein’s early abstracts which included collage elements but not yet his image transfers he dubbed as ‘printage’ (developed in 1967). He had graduated from the Byam Shaw School of Drawing and Painting in London (1959-1963) before spending a year at the Royal Academy in London. London art critic Charles Spencer wrote (1965) about Ib’s“ conscious overlapping of linear definitions of the figure to such an extent that they become blurred into bulbous almost sculptural forms, (giving) the impression not only of movements, but of power.” He was also painting with gouache, and on magazine pages (laid on card), whether selectively or at random. Datuk Ibrahim Hussein was the first Malaysian to have taken part in the Venice Biennale under the Smithsonian Institute Workshop programme in 1970. In 1986, he was accorded a Retrospective by the National Art Gallery. He studied briefly at the Nanyang Academy of Fine Art in Singapore in 1956 but did not complete. In 1977, he was featured in the eventful tripartite exhibition with Andy Warhol and Salvador Dali in Kuwait. His major awards include the Anugerah Tokoh Terbilang (2007), the Japan Foundation Cultural Award (1988), the Monte Carlo 18th International Exhibition of Contemporary Art (1984), the Order of Andres Bello of Venezuela (1993). He set up the Ibrahim Museum and Cultural Foundation in Langkawi in 2000 and celebrated it with the Langkawi International Festival of Arts. He also organised the Club Mediterranee Asian Arts Festival in Cherating (Pahang) and Bali.