In this odd abstraction, Khalil Ibrahim, one of Malaysia's greatest southpaws, plays with getting a fluid molten delineation of forms parcelled in various colours – a change from his usual colourful slivers like cut pieces of cloth. This device presents subtle rhythms of fudged anatomy, overlapping and yet homogenous but mostly feminine forms judging from the more lithe physique. It's a strange alignment, or disalignment, with a back-view perspective of action and postures sliding inexorably from the cool to the warm colour scheme. It telescopes how Khalil had evolved in his series of fishermen eulogy since such a painting won 2nd Prize in the Malayan Life national art competition in 1959. Khalil Ibrahim, by dint of his natural painting talent, was sent to London, to study art at the St. Martin's School of Art, before the establishment of the Mara Institute of Technology. When he returned home in September 1966, he was not bound by any contractual obligations and he chose to become a fulltime artist. In 1970, he had a double solo at Frank Sullivan's Samat Art Gallery, and the rest was history. He co-founded the Malaysian Watercolour Society and featured in its painting expeditions in Sweden and India. He was the first Malaysian artist to have a solo in Indonesia.