Who would have thought the wetlands mostly associated with swamps, marshes and bogs could manifest in a tapestry of orangey reds with splurges of yellowy sheens and an overlapping spray of iridescent blue in the left bottom diagonal. What's behind this happy outburst dominated by a fiery bright red. This 2002 aberrant work comes smacked into Latiff's more diaristic Voyage phase of exotic places and poetry allusions spanning between 2001 to 2008 but with the compositions going back even to the ancient past. Or pertinently reminiscent more of his earlier Rimba series during the second half of the 1990s or his Rawa-Rawa (Marshlands) book of poems in 1992. Whatever, such manifestations of wetlands often regarded as the kidney of the landscape, can only bode well in keeping the biodiversity and mitigating climate change. How underrated that such ecological balance is integral in the long run to human survival. Latiff Mohidin's international profile took a quantum leap with the landmark Pago-Pago (1960-1969) exhibition at the prestigious Centre Pompidou in Paris on Feb 28 - May 28, 2018. Regarded as a national treasure for his contribution in paint, sculptures and in letters (poetry), Latiff made history when accorded his second Retrospective (Latiff Mohidin 60 Years) by the National Art Gallery, Kuala Lumpur, in 2012-2013. His tutelage did not come with the British yellow-brick-road tradition, but in the Hochschule fur Bildende Kunste, Berlin; Atelier La Courier-Frelaut, Paris; and Pratt Institute, New York. His main art award was 2nd Prize (Graphic) in the Salon Malaysia in 1968. He is a literary giant, having won the SEA Write Award in Bangkok in 1984, the National Literary Award in 1984 and 1986, and the Malaysian Government literary prize from 1972 to 1976. He was a Creative Fellow at Universiti Sains Malaysia (1977) and a guest writer at the Dewan Bahasa dan Pustaka (1988).