Our faces are a carte blanche etched by optimism or negative emotions, thus the stock visages of heroes and villains. Even if a mask is worn to conceal one’s evil intent, envy, lust and deceit, it will become the face, disfigured and deformed unlike one cheerful and dedicated to helping others and doing good. The face becomes like a book where man may read “strange matters” if the person is constantly conniving to take what is not his or hers. It’s when the face and mask become one and become the embodiment of vile intent, as false face cannot hide what the false heart knows. Here, exaggerated lopsided features where eyeballs are not revealed awash with deceitful instead of healing green marks a dominant Mephistopheles, like in Jim Carrey’s farcical movie, The Mask. The work comes near the tailend of Yusof Ghani’s instalment of Topeng, before he navigates into the larger space of Wayang. His Topeng was inspired by first, a trip to Sarawak in 1988 when he was fascinated with the Kenyah and Kayan mask (hudoq) mask rituals, and then a 1991 trip to South Africa where the masks are more grotesque and aggressive. It’s destined that Yusof Ghani became formally involved in art after 10 years, first at George Mason University in Virginia for his BFA and then at Catholic University in Washington for his MFA (1983). Experience in illustrations at the Agriculture Ministry, Fisheries Institute in Penang, and Radio-Television Malaysia ensured easier transition. Though not an alumnus, he taught at the Universiti ITM for several years. After crashing into the art scene with his Tari series, he followed up with Topeng, Wayang, Hijau, Segerak, Biring, Wajah and Ombak. Henry Butcher Art Auctioneers 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.