Following his return from the Chelsea School of Art in London, Yusof Majid’s 1997 exhibition, Quiet Concerns, displayed a practice split between “playfully direct” drawings and formally structured “grown-up” paintings . The show highlighted a dual stylistic approach: one group of works was “earth encrusted” and multi-paneled, echoing 1970s Minimalism and geological time, while the “Veiled” series used thinly painted canvases to layer signs and symbols as metaphors for memory .Tracing motifs from H.G. Wells’ The Time Machine to modern-day landmarks like Sepang and Putrajaya, the works explored a surreptitious disquiet regarding the environmental costs of “progress” and consumerism. Rather than direct critique, Yusof utilized “innuendo and understatement,” pitching his work on the thresholds of perception to reveal truths hidden beneath the physical surface of the paint . This presentation established his commitment to process as a central formal metaphor, bridging the intimate literalism of his works on paper with a sophisticated, symbolic formalism in his large-scale canvases