Haron Mokhtar’s appreciation for heritage and culture is portrayed in his thoughtfully composed paintings. By pairing traditional architecture with local society, Haron preserves cultural legacy in his visual chronicles. On offer here is a couple of paintings – one features a traditional Malay kampung house paired with a trio of cultural female dancers executed in his characteristic minimalist style. The kampung house is painted on the upper section of the canvas and the traditional dancers are placed on the lower centre of the composition. Shifting the viewer’s focus from the centre, Haron deliberately marks a straight line and applying the colour grey as background on the lower part of the canvas, leaving a void in the middle. Another painting illustrates a British colonial mansion and a man on a cycle rickshaw. The rigidness seen from the other painting is absent here but instead, Haron explores an expressionistic approach to illustrate his subject matter. The negative space in the centre remains but his brushstrokes are visible. His liberal gestures move in various directions. The opacity of its background palette green varies in consistency granting a sense of space for the viewer. Haron Mokhtar has held eight solo exhibitions since his first in 1995. His solo shows included Haron Mokhtar: Kapsul Masa 1988-2018 (Siri Perakam Waktu) at Galeri Shah Alam, Selangor, curated by Faizal Sidek in 2018; Yesteryear Part I and II at Interpr8 Art Space, Publika in 2015; and Siri Warisan at Pelita Hati, Kuala Lumpur in 2011, among others.