In these two works, Yusof Ghani stays his usual abstract expressionist lunges in landscapes to tackle representational space hinging on notions of colours, textures, perspective and light. Interestingly as the title attests, Yusof Ghani uses Teluk Kemang, a small town south of Port Dickson (PD) at the Km11 Jalan Pantai as his entry point. They are from his Hijau repertoire of 1998-2002 which examines environmental changes caused by peripheral development from PD. Hijau also encompasses other terrains like Sungai Gombak, Sungai Terap, Dusun Raja, Ulu Yam, Teluk Bahang, Yan, Tasik Cini, the higher Gunung Semanggul and Gunung Tahan. In the Hijau catalogue, Abu Talib Putih wrote about the ‘interconnectedness’ between Man and all his ‘skill, knowledge and even wisdom’ and Nature with its “divine manifestations” and “a strong sense of symbolism and an awareness of the lucidity of the cosmos and its transparency.” It staggers the mind that Yusof Ghani was at a late 31 when he had formal studies in art, for his BFA at the George Mason University in the United States in 1981, and then MFA at the Catholic University in Washington, USA (1983). Previously, he had worked in art-related job for 10 years! When he returned, he lectured at the Mara Institute of Technology. But he has electrified the art scene with his series like Tari, Topeng, Wayang, Hijau, Segerak, Biring, Wajah and Ombak. In 2016, his Tapak gallery organised the first Shah Alam Biennale.