Pattern #1 examines the structural relationship between light and shadow. Variations in illumination produce shifting geometrical shadows, demonstrating how changes in light intensity and angle directly affect spatial perception. The work highlights the interdependence of light and its absence, presenting shadow as an active element in the formation of visual patterns.

Pattern #2 investigates shadow as a dynamic product of fluctuating light. The projected forms expand, contract, and distort according to the modulation of brightness, emphasizing the role of shadow in defining spatial boundaries. By foregrounding these transformations, the work situates shadow not as a passive residue but as a critical counterpart in understanding the behavior of light.

This artwork represents the silent victims of sexual harassment. They are thrust into the spotlight, haunted by societal prejudice.

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.

“Pulung” is a Javanese symbol of divine blessing or fortune descending upon a person or place. This work portrays two dragons facing and battling each other, representing the constant struggle to maintain balance in the cosmic order of life. In Javanese mythology, dragons are seen as guardians of universal harmony, and here they compete over the “pulung,” symbolizing the tension between opposing forces needed to sustain equilibrium. The green and brown tones of the dragons reflect elements of earth and life, emphasizing the deep connection between nature and human spirituality. One who receives the “pulung” gains blessing, while the other faces hardship, suggesting that balance involves both reward and consequence. Accompanied by the chant of Al-Barzanji, the work highlights that blessings come to those who honor God and nature. Ultimately, it reminds humans to cultivate inner goodness to live in harmony with the universe and the Divine will.

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.

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.

This radiance of light is our journey. Each human carries their own light—intuition, instinct, skill, and the unique strength of the hand. Believe in your own light, and find the courage to connect with the lights of others. From there, a symphony is born: a harmony of correspondence showing that human light can guide, nurture, and even lead artificial light. Our lights must keep growing, moving, burning with passion and spirit, and connecting with one another, as if recording their own journey of life. This work was created manually as an effort to strengthen a deeply human light—a light born of feeling, full of surprises, where even mistakes remain beautiful, and where pespiration grows through the process.

A little light might provide a bit of enlightenment. We often face realities we perceive as obvious justifications, but sometimes we need to look more accurately and more deeply. In short, in evil there can be wisdom, and conversely, in goodness there can be evil intentions. This work, abstractly, serves as a kind of contemplation of the invisible dualism in our daily lives.

Seribu Cahaya is the Indonesian for A Thousand Light, inspired by a song composed by Tohpati named “Seribu Cahaya”. This artwork symbolizes the vast wisdom and spiritual light residing within each individual in the composition, with every person possessing a unique internal luminosity. The seashell heads are unique from one another as a metamorphic piece of nature that shimmers with such complexion, which visualizes their inner light or illumination. Universally, light is associated with knowledge, enlightenment and understanding. “Seribu Cahaya” represents the convergence of the beauty of nature with the power of human interconnectedness within the display of an Indonesian traditional market situated within a forest, highlighting the beauty of ecological preservation and collaboration. It serves as a contrasting image to modern, contemporary settings. A thousand lights align within this piece as a rare and novel occurrence where human and nature have conducted a friendly relationship that is mutually beneficial.

A visual of human dolls as decorations that are used for a long time, so they are damaged. However, the dolls remain together side by side with each other.

Dappled light is scattered sunlight filtering through layers of leaves and branches, casting shifting patterns of light and shadow. In Indonesia’s dense forests—tropical rainforests, teak stands, and mangroves—this phenomenon is both common and distinctive. Beyond its beauty, dappled light sustains life on the forest floor. It enables photosynthesis in shade-tolerant plants, triggers seed germination, and creates microclimates that support diverse organisms. It also contributes to nutrient cycling through decomposition and influences animal behavior by guiding movement and providing camouflage. These interconnected roles make dappled light essential for biodiversity and forest regeneration. Yet much of Indonesia’s forest cover has been lost to deforestation and land conversion. This model seeks to evoke the memory of standing beneath trees—the atmosphere, the filtered light—and to prompt reflection on what has disappeared, and how much more we are willing to lose.