Turun temurun. Kisah, dongeng, legenda. Berbagai cerita dari leluhur yang mengundang imajinasi liar, magis, berupa-rupa. Di balik itu, terdapat makna. Kata-kata yang terselubung oleh metafora. Sebaiknya kita jeli dan menerawang di bawah cahaya. Sebab ada udang di balik batu, dan di balik udang terdapat kisah. Kisah bermakna dari nenek moyang kita.

Turun temurun. Kisah, dongeng, legenda. Berbagai cerita dari leluhur yang mengundang imajinasi liar, magis, berupa-rupa. Di balik itu, terdapat makna. Kata-kata yang terselubung oleh metafora. Sebaiknya kita jeli dan menerawang di bawah cahaya. Sebab ada udang di balik batu, dan di balik udang terdapat kisah. Kisah bermakna dari nenek moyang kita.

Turun temurun. Kisah, dongeng, legenda. Berbagai cerita dari leluhur yang mengundang imajinasi liar, magis, berupa-rupa. Di balik itu, terdapat makna. Kata-kata yang terselubung oleh metafora. Sebaiknya kita jeli dan menerawang di bawah cahaya. Sebab ada udang di balik batu, dan di balik udang terdapat kisah. Kisah bermakna dari nenek moyang kita.

Di tengah pesatnya perkembangan ilmu pengetahuan dan teknologi, manusia semakin sering dihadapkan pada kejenuhan akibat derasnya arus informasi dan tuntutan zaman. Meski menawarkan kemudahan, kemajuan juga menghadirkan kelelahan mental dan kerinduan akan ketenangan, kehangatan, serta keterhubungan dengan diri sendiri. Di sinilah kenangan berperan sebagai “supply of joy” yang alami dan menyegarkan—menghadirkan kembali momen-momen sederhana yang memberi makna dan keceriaan. Gagasan ini tercermin melalui figur-figur dalam lukisan yang ditampilkan dengan warna kontras terhadap latar dan elemen visual lainnya. Kontras tersebut menjadi simbol kekuatan emosi dan memori yang menembus waktu, sekaligus jembatan antara masa kini yang kompleks dan masa lalu yang hangat. Sementara itu, kehadiran hewan dan unsur alam merepresentasikan keterlibatan seluruh aspek kehidupan dalam arus perubahan, menegaskan kaburnya batas antara yang alami dan artifisial dalam peradaban masa kini.

Renowned for a unique blend of photography and wire sculpture, the contemporary artist works at the intersection of visual art and political commentary. Her practice strips away color to reveal the stark realities of form and structure, bringing political and social tensions into sharp focus. By juxtaposing black-and-white photography with intricately crafted wire sculptures, she creates a dialogue between the tangible and the ephemeral, one that is both visual and metaphorical. In her latest series, Metamorphosis, everyday objects and scenes are transformed into statements on contemporary issues. The wire forms, central to each composition, symbolize the skeletal framework of society: bare, unadorned, and stripped of illusion. This deliberate restraint emphasizes form over decoration and urges viewers to look beyond appearances. Ultimately, her work functions not only as visual experience, but as a political act that challenges perception and invites reflection.

Mirroring the connection between Gloria and Robbie in Isaac Asimov\'s \"I,Robot\", this work provides a medium to cennect with an artificial friend via Artificial Intelligence.

In this series, the belittled word “garbage” becomes both medium and metaphor for suppression during growth by parents, schools, industry, and social values. In Chinese educational culture, being labeled garbage can erase effort, pushing many Asian youths to prove their worth. Through documentary photography, I confront waste in reality: its disposal processes and the people who handle it, magnifying overlooked details to question definitions. Garbage does not disappear; the shift from valued to useless is only its first stage. After entering trucks, it travels to processing sites, where it gains new value through recycling and returns to public life. This cycle reflects how labels and values fluctuate. In a second part, I redefine “garbage” using images and dancers’ emotions to show how objects and people are used, discarded, yet still sustain lives.

Kita memiliki Ide yang menceritakan situasi tentang kondisi laut yang terjadi sekarang. Hal ini didasari oleh banyak terjadinya kasus yang mencemari lingkungan laut yang menyebabkan ketidak seimbangan dan kerusakan ekosistem laut. Selain itu, masih banyak orang yang kurang aware terhadap kerusakan lingkungan terutama di lautan. Oleh karena itu, Kita mengangkat Ide ini untuk mengedukasi Masyarakat guna meningkatkan awareness terhadap kondisi lingkungan laut yang kian lama hancur.

Karya seni ini adalah cerminan dari hubungan yang rumit antara hasrat kita akan tren dan jejak yang kita tinggalkan di planet ini. Melalui instalasi ini, saya ingin mengajak audiens untuk melihat lebih dari sekadar harga murah dan desain yang menarik dari fast fashion. Di balik setiap pakaian ada dampak ekologis yang besar, mulai dari limbah tekstil yang menumpuk hingga polusi yang meracuni air dan tanah, dan dari karya visual ini mencerminkan tentang melihat hanya dari sudut pandang indahnya saja namun terdapat dampak negatif di baliknya.

Drawing on Katherine Hayles’ posthumanist theory, this work views the body as an \"original prosthesis\" extended by cybernetics and simulation. It posits that all life is essentially information processing, framing the cosmos as a grand data processor. Interrogating humanity’s drive to control this complexity, the video draws from Dayak Ngayu cosmology. A digital Tree of Life emerges, symbolizing a network connecting humans, plants, and rocks. However, this equilibrium is shattered by data overload—represented by proliferating celestial birds that trigger systemic collapse. By intertwining myth with digital theory, Too Many Birds in One Tree critiques our imbalanced technological ecosystem. It echoes ancient wisdom: despite our advancements, we remain tethered to a fragile, interconnected web. The piece ultimately challenges whether our digital evolution can navigate our planetary destiny or if, like the birds in the myth, our excess will lead to inevitable destruction.

This research explores digital storytelling as a medium to bridge the emotional disconnect between audiences and cultural heritage. By leveraging immersive narratives, the project transforms static artifacts—such as looted relics—into dynamic storytellers that express their histories and longing for their origins. A key innovation is the integration of AI to co-create voice narrations, scripts, and soundscapes. Here, AI serves as a symbolic counterpart to heritage: both are often perceived as \"lifeless\" objects brought to life through the illusion of voice. While AI relies on algorithms, these artifacts depend on the storyteller to breathe life into them, creating a bridge between memory and silence. By humanizing artifacts, the research raises awareness about illegal trafficking and neglect. Ultimately, AI-powered storytelling acts as a catalyst for empathy and justice, advocating for a shift from historical disconnection to a profound sense of responsibility and cultural preservation.

Artist: Almira Hafizha Wisnu, Theona Veda Saraswati, Siti Alya Namira Ibrahim, Isyana Permata Wibawati. Around 200 years from now, in a world where trees are finally extinct due to humanity’s greed and carelessness, the world falls into an apocalyptic state. Who would’ve thought the lack of clean oxygen could turn humanity into zombie-like creatures, hungry for meat and flesh? In order to save the world, a group of people must go out of their way to replant trees, all while trying to survive this zombie apocalypse, and bring back the world they once knew.