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.
This is a period of Saysa's wayang depicted through wondrous colors symbolizing their personality and diversity.
The Light Behind Shadows
These paintings reverse the shadows of wayang, and bring light to varying figures that is important to Saysa's life.