In the Topeng series, Yusof Ghani draws attention to the ceremonial traditional masks from the indigenous communities from Sarawak, as a return to his own cultural heritage. The artist paints images of masks as a symbolic reflection of his inner state of mind, using each mask as a visual language to express emotion. The masks also serve as a visual commentary on his analysis of the people around him, as they adopt different personas based on the social context. In Siri Topeng II Panji Panji, the artist arranges rows of striking masks to form the image of a flag, transforming individual expressions into a powerful communal symbol. Yusof Ghani started out doing Art-related jobs for 10 years without formal education. He was artist-illustrator at the Agriculture Ministry (1967), instructor in the Fisheries Institute, Penang (1971) and a graphic artist at Radio-Television Malaysia (1977). Then he got a scholarship to study for his BFA at the George Mason University in the United States (1981), and MFA at the Catholic University in Washington, USA (1983). On his return, he lectured at the Universiti ITM with the rank of Associate Professor, but unleashed some of the most memorable art series: Tari, Topeng, Wayang, Hijau, Segerak, Biring, Wajah, Ombak, Kuda, and Cenderawasih. He singlehandedly organised the Shah Alam Biennale involving artists from 15 countries in 2016. Yusof Ghani made his London foray with an exhibition, Segerak VI - Transcendent Figures, at the Asia House in early April 2017. 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.