After a long hiatus to focus on optimizing and redesigning my website, I have finally found the time tonight (02/09/2026) to write again. It is hard to believe we have already entered the second month of 2026. For many, this year feels somewhat ‘dim’ due to the global economic and political climate. However, amidst these uncertainties, my artistic journey has reached a significant milestone with my participation in Art Jakarta Papers 2026.
Before this, at the end of 2025, I was given a wonderful opportunity to present my work and artistic practice at Gua Lokal, an art movement in my hometown, Medan. I deeply appreciate their initiative; in a city that often feels parched for contemporary art activity, Gua Lokal consistently fosters the local ecosystem through events like Kutu Rupa, where they invite local artists to share their journeys. You can watch my presentation here (in Indonesian): https://www.youtube.com/watch?v=UqmDXuOFNTw&t=1885s.
The momentum continued into early February, where I was grateful for the opportunity to exhibit my work at Art Jakarta Papers 2026 through Hadi Art Platform. This prestigious annual event is a cornerstone of the Indonesian art scene, focusing specifically on the versatility of paper mediums. It was a distinct honor to collaborate with one of Indonesia’s most experienced senior curators, Hendro Wiyanto, for this showcase at Art Jakarta Papers.
From the selection of works I proposed, Pak Hendro chose six pieces created during the pandemic—a period when I committed to producing one work every day to respond to the global crisis. This is why these works still bear my Chinese name, Xiongzhen.
The series is titled ‘Residu Sebuah Perjumpaan’ (Residue of an Encounter). These works were born from the silence of the pandemic, a time when human connectivity was forcibly severed. Amidst these interpersonal limitations, I was haunted by an existential question: How real is our presence without physical proximity?
Through this series, I explore the face as the primary gate of self-representation. I realized that the face is not merely anatomy; it is a social and cultural construction that is often illusory. Its existence only feels ‘real’ when physical connection is established. Without it, the face is but a shadow. This inquiry was further intensified as I witnessed the tragedy of loss during the pandemic, where health protocols stripped us of our right to pay our final respects in person. This work is my attempt to freeze the memory of an encounter and question the essence of presence within an increasingly fragmented reality.
I am grateful that these older works have finally found a space for appreciation and connection with the public at Art Jakarta Papers 2026. Ultimately, every exhibition is a valuable part of my artistic process—a process that is never truly finished but will continue to evolve.
