The mindscape portal is inviting with an arched inner dome to mentally traverse in, the darker greenish veneer providing a protective embrace from the red yonder. It has an enigmatic form. What lies ahead is shrouded in a coalescing smithereens of pellet shapes. Everything is nebulous, ambiguous. The course and trajectory are shaped by the viewer's mood, emotions or thoughts as much as dictated by the artist's intent. This 1983 work represents Latiff Mohidin's second tranche of his Mindscape series, from 1979 to 1985, after an inexplicable hiatus from the first, between 1970 and 1974. Has the thread of consciousness been broken in the interim years, or does the visible standard structure create a link, however tenuous? Tengku Sabri Ibrahim, curator of Latiff Mohidin's Retrospective at the National Art Gallery, intoned: "Compositions in the Mindscape 2 series largely integrate architectural forms - arches and domes - in which are to be found shapes resembling 'doors'. Abdul Latiff Mohidin breaks down barriers of thoughts in lines and forms, on canvas or board or printed on paper, in sculptures and on printed text. He became the toast of Asian art when he was selected to be the first Southeast Asian artist to feature in a major solo at the prestigious Pompidou Centre in Paris in 2018, with his iconic Pago-Pago series no less. The thrust of his themes is in the intellect, the physical structures both natural and manmade juxtaposed in an awkward pose. Fluent in English and Bahasa Malaysia, he added German to his linguistic repertoire. As poet and writer, he had won the Malaysian Literary Awards from 1972-1976, besides the SEA Write Award twice (1984, 1986), and was also guest writer in Dewan Bahasa dan Pustaka (1988). His tutelage was tripartite - German: DAAD German Academy in Bonn; American: John D. Rockefeller III Fellowship; and French: Printmaking at Atelier La Courier in Paris. Early on in his career, he won the 2nd Prize (Graphic) in the hugely coveted Salon Malaysia in 1968.