Created by Jesslyn S., Ahwa S., Paramitha R. P. S. (Binus), I Made D. W. A. (Trisakti), Hilmi (UPI), and Ahwa (UNJ), this installation explores the ongoing impact of colonialism through the Infinity Mirror (Droste Effect). Using a mirror as both a literal and symbolic medium, it reflects two realities: the past, represented by forced laborers of the Anyer-Panarukan road construction, and the present, where Gen Z faces modern colonialism through consumerism and Western media. The interactive mirror blurs the lines between historical oppression and cultural dominance today, urging visitors to confront their own reflections within this continuum. Through deep crimson red, black, and white, the piece evokes grief, identity, and resistance, encouraging a deeper contemplation of how colonial legacies still shape society.

Created by Kane L., Alicya I., Eryn E. (Binus), Carlo R. K. (UPH), and M. R. Azriel (Trisakti), this installation explores the stark contrast between how individuals present themselves in real life versus the digital world. Using Anaglyph 3D technology, the artwork reveals two perspectives: at first glance, people appear kind and well-mannered, but when viewed through a specially designed phone screen, their \"true colors\" emerge. Inspired by the Rwa Bhineda philosophy, which highlights the coexistence of good and bad, the installation consists of a phone-shaped frame symbolizing the polished online persona and an antique frame representing one\'s raw, unfiltered self. This interactive experience invites viewers to reflect on the impact of social media, digital anonymity, and how online spaces often blur the lines between authenticity and deception. By confronting these dual realities, the piece encourages a deeper dialogue on empathy, self-awareness, and responsible digital behavior.

Created by Hadijah K., Michelle L. R., Safina A. H., Kanya A. N. (Binus), Anastasia A. A. (UPH), and Zainab N. (UNJ), this artwork explores the impact of colonialism on beauty standards in Indonesia through a combination of digital drawing and projection mapping. Using frames as symbols of women\'s memories and trauma, the installation presents two versions of Indonesian women: their authentic selves and the version altered to fit Eurocentric beauty ideals. The projector’s light serves not only as a visual element but also as a metaphor for how colonial influences continue to shape perceptions of beauty today. The artwork also highlights how media and societal norms reinforce exclusive beauty constructs, creating social pressure that affects women\'s self-esteem. With its asymmetrical arrangement and interactive visual effects, this installation invites visitors to reflect on the beauty standards they have internalized and how colonial legacies still shape modern identities.

Kemajuan teknologi digital telah membawa arus perubahan yang mendasar dan tak terhindarkan bagi kehidupan hari ini. Tanda-tanda \\\'baru\\\' diproduksi tanpa kedalaman makna ataupun kebenaran. la menjadi semu, dituntut oleh kesegeraan dan kebaruan setiap saat. Hari ini saya tersesat diantara arus perubahan yang tidak mampu saya pahami sepenuhnya. Melalui karya ini saya mempertanyakan eksistensi manusia modern ditengah badai kemajuan, yang saling tumpang tindih seolah tanpa arah-keteraturan Saya mengambil inspirasi dari berbagai simbol kultural dan simbol dari narasi biblikal yang menjadi bagian dari identitas saya-. Berbagai tanda tersebut diinterpretasi ulang untuk menyampaikan suatu narasi \\\'baru\\\'dengan berbagai kemungkinan untuk dimaknai oleh pengamatnya. Perpaduan dan jukstaposisi berbagai tanda visual menjadi metafora dari sifat kehidupan kontemporer yang terfragmentasi dan multisensori. Saya adalah bagian dari manusia yang terasing sekaligus memiliki kepercayaan dan harapan dalam kehidupan.

My illustrations reimagine Vietnamese folklore, focusing on morality, transformation, and interconnectedness. \"Two Girls with Two Lumps\" contrasts a kind, singing girl who heals, with an envious girl who doubles her affliction. I depict their encounters with \"ugly\" monsters, highlighting the power of inner beauty. \"Marrying a Toad\" explores love beyond appearances. A GIF shows the ridiculed toad-wife transforming into a beautiful woman, while smaller illustrations showcase her hidden talents. \"A Lawsuit Against a Grasshopper\" visualizes the complex web of causality. A large piece depicts Buddha judging a chain of events, emphasizing interconnected responsibility. Through these stories, I aim to make these timeless tales resonate with contemporary audiences, prompting reflection on their enduring themes.

Inspirasi batik  ketiga negeri pada sebuah rantang merupakan manifestasi yang sangat jelas dari akulturasi budaya yang beragam. Warna merah darah ayam Lasem ( getih pithik) mencerminkan budaya Tionghoa. Menurut tradisi Tionghoa, merah adalah simbol kebahagiaan dan kegembiraan. Warna merah sering digunakan di pesta pernikahan. Warna biru yang dilestarikan di Pekalongan merupakan pengaruh budaya Belanda.  Sedangkan warna coklat sogan berasal dari budaya Jawa.  Ketiga BudayaTionghoa, Jawa dan Belanda menghantar makanan di Rantang sendiri merupakan kebiasaan yang sering dilakukan

Usia senja terjadi pada siapa saja Ia mengarah ke ‘Sejati ing Jati hitam’ : self identity - Setelah kerja keras bagi sejahteranya negari … saatnya kembali ke sendirian, ke makna hidup, kesederhanaan, menjadi kebanyakan orang, ke canda-tawa kejujuran, ke kesyukuran, ke alam dan keseimbangan Bahkan tak lagi semua hal bisa dikelola Tak lagi bisa cawe-cawe … semua berubah Bahkan diri kita sendiri memiliki denyutnya Bahkan hal kecil yg mustinya tak ditampakkan Bisa lepas tak terkontrol … sedikit memalukan kurang pantas … tidak sopan tapi apalah daya … yg telah lepas biarlah lepas … lega Lama-lama nanti kan biasa … jadi tahu merdunya … mengundang senyum … nikmat dan seru juga … enak dan bikin sehat … Mendengarkan orkestra kecil dan selonjor rebah - serendah tanah

Sebuah rangkaian potret yang menggambarkan fragmen kehidupan di masa penjajahan, menampilkan ketegangan antara tradisi lokal dan pengaruh kolonial yang membatasi ruang gerak masyarakat pada waktu itu.

Rimbun is a body of work based on my exploration on organic projection mapping at my residency in Rimbun Dahan. Most of the time projection mapping is being utilised for projection on geometric and man made object. The process of creating content and the pipeline of doing geometric projection mapping is different than the organic one as we do not have a pre-existing “blueprint” or “template” for the mapping itself. The mapping need to be done on-site and this technique takes more time as it need to work with the space and also the space environment. One of the key themes of this installation is the interplay between perfection and imperfection. By embracing the organic nature of projection mapping and allowing for a degree of unpredictability and spontaneity, I sought to create a more dynamic and engaging experience for viewers.