By the end of 2007, Ahmad Su'udhi began transitioning and expanding his subject matter into other arenas. This shift can be regarded as an extension of his vision of the children's world. And the expansion was fuelled by his inten- tion to develop the story aspect of the raised themes. Secretly, he began to bring the concept of "local children" and "national children" into the world of"globalized children." Though the children's figures, postures and facial expression remain the same, their playground settings difibr. The new settings no longer show traditional gardens behind the village houses or in the courtyard of classical temples. Instead, Ahmad Su'udhi is bringing the children to the arena of the world's ultra-modern civilizations that are surrounded by computerized modem technology.

　　One of his paintings Baby Genius (2008) depicts two babies. Both babies are playing with a phone and are trying to operate a computer. The children are surrounded by floating white silk scarf that forms a circle around them, providing protection. Through this painting he does not intend to raise technology to cult status. In fact he wants his works to serve as a reminder of how advanced technology is beneficial if implemented at the right age.

　　Through his research, Ahmad Su'udhi cautions how the world of computer technology could potentially alienate children's social and emotional development, causing children to feel isolated. In some cases, children addicted to the world of computer are not capable of handling personal relationship with their peers and families. Thus the emergence of technology will limit children's sense of tolerance towards others.

　　At a glance, it is easy for anyone to understand the satiric meaning of Ahmad Su'udhi's depiction of children growing up in the technological era.

　　As children today rarely interact with their neighbours, it then raises the question of the appropriate age to be introduced to these forms of entertainment. The same satire is presented through the painting Dalam Genggaman (In the Fist, 2007), which tells a story about a crawling baby a la cyborg, a robot such as we've seen in the movie Terminator. In Golden Hand (2007) he shows a baby using headphones. The baby is laughing happily. His eyes show that he is enjoying the music or other sounds coming from the headphones.

　　The Perang-Perangan (Fantasy Wars, 2008) tells of a boy shooting at the enemy with a rifle made of timber. In front of him a little girl is giggling as she witnesses this act of heroism. In the background the faint shadows of soldiers are fully armed, complete with gas masks. They are seen invading a territory, with tanks and air planes.

　　For Ahmad Su'udhi Fantasy Wars is not just a presentation of children's imagination about the super hero. More than that, it is a manifestation of a feared hegemony that happens in the understanding of superheroes, which in turn is always associated with the figure exterminator, evil creature killer and the brave who massacre the enemy. In reality, the so-called super hero is not only related to violence. However, many are misled by the messages transmitted in the high-tech world of mass media such as film and television.

　　From outdoor retreat he had with the children, Ahmad Su'udhi concluded hough the children may come from different nations, their innocence and feelings are alike. They feel the same emotions as the other earth inhabitants. Children around the world are connected by the same sea, and illuminated by the same sunshine. In the world of children, there is no fanaticism of nationalism that will eventually lead to dissension. In the world of children, no political wars are involved. In the world of children, the earth is common property. So that it's a form of beauty that everyone should be thankful for. Similarly, the differences arising from all conflicts of interest must be accepted as common property.

　　One of Ahmad Su'udhi's paintings, Babies Debate (2008), shows three babies who are engaged in a deep conversation. Half-naked babies are presented in different colours, brown, blue and gray. But the nakedness reveals their un- derstanding of their similarities despite the differences in skin colour. They have grasped the concept of skin deep and say "Apparently we humans are no different". Through these works, Ahmad Su'udhi hopes that children will serve as instruments to unite the world.

　　To paint his childhood series, Ahmad Su'udhi travelled in his imagination to many countries around the world. The work Tiger Beat (2010) tells a story of children who ride the white striped tiger in the courts of the Russian Red field, with a background of the famous orthodox churches. In Babies Ride Ponies (2010) children ride a pony while passing the leaning tower of Pisa in Italy.

　　In Babies Across Taj Mahal (2009), the kids are having fun riding and playing with elephants, an iconic animal of India. The Taj Mahal was built by 20,000 people between 1630 -1653. The children are aware that the majestic architecture on the banks of the river Jumna at Agra is not only a monumental Islamic building, but also an eternal monument to human civilization. While Shah Jahan, the rich man who presented this to his favourite wife was merely the a tool of that era of civilization.

　　In another painting Ahmad Su'udhi shows a number of children sitting in a comer of Borobudur temple. Together, they are discussing the great wonder that they have just seen. They are amazed that the temple was built in the year 800. They are curious about the tools and equipment used in that period. A lot of people appear in the stories depicted in the Kamadhatu, Rupadhatu and Arupadhatu reliefs. The children have been told stories about how life was at the time of Borobudur. This Buddhist temple was originally used as a monastery or place of worship. Indeed, the word Borobudur originates from "Bara", another word for "monastery" (or temple), and "Budur", meaning "above" (or in the sky). So Barabudur, which eventually became Borobudur has the meaning of "temple in the sky".

　　Looking at the last period ofAhmad Su'udhi's paintings, we see a new wave of a cosmopolitan attitude. His works give viewers the impression that he has raised the children to become citizens of the world. That way the children are no longer categorized by narrow nationalism, which often leads to quarrels and enmity.

　　Interestingly, Ahmad Su'udhi's new series of works exude a high degree of gentle clarity and softness in colours. They are a contrast with his older series which were a bit muted. His soft pencil lines have also gradually disappeared. Then came the colours pink, light blue, broken-white, gray, yellow, ivory, ocher etc. At the same time, he has also experimented with several elements in his new compositions. For his new works, he manipulates the concept of space. Areas of empty spaces are stretched to create layered perspectives. It could be the sky, as seen in the painting Safety Hand (2007). It could be in the deep ocean, as in the painting Biru, Merah, Kuning (Blue, Red, Yellow, 2008), and Ceritera Tepi Pantai (Beachside Chatting, 2008). But it also could be just a colour for infinite space, as seen in Tolong Dong (Help, 2008).

　　When asked to explain the difference between his old and new works, Ahmad Su'udhi admits that the controlling and managing of soft colours to create a feeling ora sparse empty field is very much influenced by contemporary Chinese paintings.