Between 1995 and 1997 Latiff began to observe nature from a different perspective, striving to portray notions of forests that symbolise growth and revival processes. Capturing the splendour of nature and exuding a meditative quality, the series comprises approximately 90 paintings and an equal amount of drawings. Another driving force in Latiff's shift in style was his exploration of new technical features consisting of varying brushstrokes and glazing methods, weaving together a sense of vigour. During this period, Latiff created some of his most powerful works, aiming to capture the transformative forces of nature through a dynamic and expressive artistic style. Drawing is an important developmental process in Latiff's practice, and can be viewed as 'crystallising first thoughts in which an idea is set down by graphic means and which stands as a unity'. This work demonstrates Latiff's skilful use of ink tones and lines to express key elements of nature, producing symbols that represent its components. There is a refined balance of elements, delicate black strokes and curved forms creating a rhythmic structure, underlying regeneration and continuity as a key essential in nature. One of Southeast Asia's leading modernists, Abdul Latiff Mohidin is a poet, painter, printmaker and sculptor. He received his education at Hochschule fur Bildende Kunste in Berlin, Germany, studied printmaking at Atelier La Courriere in Paris, France and Pratt Graphic Centre in New York, USA. He received honours and awards such as the Malaysia's National Literary Prize and the Southeast Asian's Writer's Award in 1984. Latiff was gifted in art from a young age, and was hailed as a 'boy wonder' by the local press when he held his first solo at the Kota Raja Malay School in 1951 at the age of ten. The exhibition Pago Pago: Latiff Mohidin (1960-1969) was held at the internationally renowned Centre Pompidou in Paris, jointly organised by Centre Pompidou and National Gallery Singapore. REFERENCE Latiff Mohidin, Rimba Series, T.K. Sabapathy, Petronas, 1998.