Stories told through Saysa's Javanese Shadow Puppets


Sasya's works are part of a similar process of cultural  re-appropriation", albeit in a post-nationalist context. She knows that the masks, statues and puppets that she paints are emblems of her culture of origin: they are the objects through which the Western world constructs its imaginary representation of Java and Indonesia. One finds them as favorite decorative items of Western bourgeois living-rooms, and as signs of the Western appropriation-cum-consumption of the cultures of the world. However, Sasya doesn't "collect" these ethnic objects. They are not some souvenirs from a world tour. She represents them as still-lives, that is as much symbols as objects, and by doing so she re-appropriates her identity. So they are not an exotic memory of Java, or Indonesia, or the East, but they symbolize a return to Java, or Indonesia, or the East, but they symbolize a return to Java, Indonesia and the East. They are Sasya's dialogue with her lost soul.



Colorful Indonesia

This is a period of Saysa's wayang depicted through wondrous colors symbolizing their personality and diversity. 

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The Light Behind Shadows

 These  paintings reverse the shadows of wayang, and bring light to varying figures that is important to Saysa's life.