This piece resembles the tribalistic grotesque masks that form his visual research. Nevertheless, masks, empowering some cultures, are also modes of deception and concealment of one’s identity. They are also ritualistic with dark powers but can be talismanic, too. The danger is that if one wears a masks often and long enough, it becomes the skin, and no longer the second skin. We hide ourselves behind many masks, and in doing so, trapped ourselves in fear of being found out. Yusof Ghani worked as an artist-illustrator at the Agriculture Ministry (1967), instructor in the Fisheries Institute, Penang (1971) and a graphic artist at Radio-Television Malaysia (1977) before he got a scholarship to obtain his BFA at the George Mason University in the United States (1981), and MFA at the Catholic University in Washington, USA (1983). On his return, he lectured at the Universiti ITM with the rank of Associate Professor. But he is better known for his series of paintings – Tari, Topeng, Wayang, Hijau, Segerak, Biring, Wajah and Ombak. His Tapak Gallery and studio organised the Shah Alam Biennale involving artists from 15 countries in 2016. In April 2017, Yusof Ghani made his London debut with an exhibition, Segerak VI – Transcendent Figures, at the Asia House, and the show was well received.