The leap from illustrational art to lightweight genre painting was felicitous in Malang’s case. The temperas he exhibited at the Philippine Art Gallery in the late 1950s were miniatures blithely illustrating rustic folk – all these he did with an eye for the cute. Gradually in the 1960s he emerged as a serious artist with a knack for abstract figuration. He was not though a landscape or townspace painter, but basically a genre artist, of figures in a setting, conversation pieces, all.
The abstracted geometry of the women offered a visual structure on which to deploy patterns of broken colour and sensitively modelled tones.