In 1998, a stylistic transition from figures to landscape could be observed in Yusof Ghani's work. This period saw Yusof Ghani directing his attention to the study of nature, emphasising its importance through the appreciation of its form. The energy and light felt in nature are conveyed through the artist's magnificent brushstrokes and colour, which records the artist's journey into the landscape. In Machang, a surge of energy was produced through the depiction of trees executed with refinement, translating glimpses of the scene into an internalised expression. Yusof Ghani's art career started in 1981, when he got a scholarship to study for his BFA at the George Mason University, which he followed up with his MFA at the Catholic University (1983). Before, for 10 years and without formal art education, he had dabbled in various art-related jobs. America was a great eye-opener to him, and when he returned, he lectured at the Mara Institute of Technology. His career highlights include his London debut in 2017, in a solo called Segerak VI - Transcendant Figures, at the Asia House. His series include Tari, Topeng, Wayang, Hijau, Biring, Wajah, Ombak, Segerak, and Kuda. Yusof organised the Shah Alam Biennale in 2016.