Light Between Generations (2019–2025) showcases intergenerational collaborations in 2D and 3D art, bridging senior participants and younger creators through the digital realm. Moving beyond technical perfection, the project celebrates the joy of creative exchange and the spark of discovery. These selected outcomes illustrate how light—both as a technological medium and a shared inspiration—acts as a thread of renewal across ages. The first series features digital sceneries of trees, mountains, and suns, reimagining the classic \"first exercise\" of Malaysian art classes. By experimenting with digital tools alongside youth collaborators, seniors discovered that the glow of a screen could feel as natural as paint on canvas. These works connect the comfort of traditional motifs with the possibilities of modern technology, transforming a familiar starting point into a vibrant bridge between the past and the digital future.

Synthetic Chlorophyll (2025) explores the illusion of life emerging from technological debris. A wall-embedded monitor displays looping colors, filtered through a custom polarizer screen shaped like a leaf. In front, salvaged cables and wires are twisted into organic forms—roots and vines that spread across the floor like organisms paused in transformation. The animation’s light interacts with the polarizer, causing the metallic \"plants\" to shimmer and shift in color, mimicking chlorophyll responding to sunlight. This artificial vitality creates a fragile, haunting mirage of life born from e-waste. By reassembling industrial remnants into biological visions, the work reflects a modern paradox: our longing for nature is often filtered through the very technologies that distance us from it. Rather than replicating the natural world, the installation reveals the artificial structures we build in its absence and the strange, unsettling poetry found within our own waste.

Sundara (2025) is an interactive digital artwork using projection mapping on fabric to create a participatory space. Responding to visitors in real time, the visuals evolve through active engagement, reflecting beauty that emerges from absence. Presented as a triptych, the work traces a spiritual journey from chaos to harmony. Its visual language reinterprets Balinese Rerajahan—sacred mystical drawings—linked to the Nyepi tradition of purification and renewal. The narrative unfolds across three screens: the left initiates purification, the right expels malevolent elements, and the center sinks into darkness to reveal true light. In this context, light serves as a sacred axis and primordial energy, bridging the material and immaterial realms. It transforms the viewer’s presence into a new consciousness, illustrating the transition from silence to spiritual awakening.

Of Wind and Flame: Cethik Geni (2025) draws inspiration from the Javanese ritual of cethik geni—igniting fire by blowing through a bamboo pipe—and the Obor Suroan procession in Pasuruan. In these traditions, wind and flame represent a paradox: forces that both nurture life and possess the power to destroy. The work symbolizes the community\'s spiritual preparation for the Javanese New Year and the delicate balance between humanity and nature. Mounted at eye level, the installation invites visitors to participate directly by blowing into a bamboo pipe. This action triggers a light within the frame, allowing the audience to reenact the ritual and experience the interplay of energy firsthand. Through this intimate encounter, the piece merges cultural heritage with ecological reflection, illustrating how breath—the essence of life—can transform into the illumination of spirit and community.

All life originates from water, yet industrialization has proven this foundation is no longer inexhaustible. Water’s flow and management now dictate the survival of all living beings. Where is it going (2025) is an installation that translates the movement of water into fleeting light. Water pumped from a reservoir turns a propeller, driving gears and a motor to generate electricity. This energy briefly illuminates an LED within a discarded fishing lamp. The resulting light is not mere illumination but a medium reflecting ephemerality; it exists only while water falls, vanishing instantly thereafter. This cycle makes the subsequent darkness more vivid, forcing a confrontation with the inevitability of disappearance. While the water flows endlessly, the light remains momentary. This stark contrast invites the viewer to reflect on the relationship between life and time, presence and extinction, and the fragile balance of our natural resources.

Link to view: https://youtu.be/5k6ty2OTefc Regan Iwada (GecTheory) – Trying to Find a Resolve Iwada uses strudel.cc and TouchDesigner to present a five-act journey navigating modern unpredictability. Moving from the \"jazzy celebration\" of technology to the chaos of failing to learn from history, the piece centers on \"Oxygen Tank,\" a reflection on ecological suffocation. It concludes by positioning childhood memory as the essential light for overcoming collective greed and moving forward. Andra Winatama (andrawkx) – Flags as Shackles Winatama employs Sonic Pi and GLSL shaders to critique nationalism as an \"organized crime\" orchestrated by global elites. Industrial rhythms and distorted melodies represent state propaganda and debt-based economies. Ultimately, the work embraces the collapse of empires as a necessary prelude to a decentralized future rooted in permaculture and open-source unity.