"Eschewing the studio in favour for the outdoors where natural elemants mingle with surrounding sounds and smells, Affandi's urgency to express the feelings of the moment translates into bursts of staccato stabs and rapid flourishes of paint directly from the tube onto the canvas, his fingers instinctively applying pressure on the tube to control the flow of colour as he deploys the nozzle's edge to dot or scratch lines, or to lavish thick streaks of paint. Affandi had discovered the economy of direct application early in 1940s, and he would in the 1950s abandon the brush almost entirely as it slowed him down. Instead, fingers, palm, and the back of the hand, replace the brush to spread paint over large areas or to make swirling effects by nimble twists of the wrist. Within an hour, Affandi would have completed the painting." (Joanna Lee, "Affandi - A Hunger to Paint" in 12 ASEAN ARTISTS, Balai Seni Lukis Negara 2000, the artists and authors, Kuala Lumpur, 2000, p. 11).