A phalanx of heads stands like ancestral guardians reminiscent of the moai megaliths of Easter Islands, although the Topeng series was inspired by Yusof Ghani's group trip with students to Sarawak where he was fascinated by the rituals of the Dayak masks (hudoq) of the Kayan and the Kenyah, of which the intrinsic value is to protect against evil spirits. They get an emotive and symbolic quality when rendered as grimaces concealing real intentions. Yusof Ghani had even shown his Topeng at the Takashimaya Gallery in Singapore, and at the Jenkins Johnson Gallery in San Francisco in 1997. 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 and Kuda. 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.