In love people try to unmask each other
an exhibition by AGUGN & Sekarputi Sidhiawati.
8 August - 26 October 2026
To love someone over years is to slowly witness the layers they shed—and the layers they cannot. Living in the same home and working in the same studio, Sekarputri Sidhiawati and Agugn have spent years observing one another through thousands of ordinary moments. In Love People Try to Unmask Each Other emerges from this prolonged intimacy, not as a portrait of harmony, but as an exploration of coexistence, difference, and the courage to remain visible.
Bringing together three years of work, the exhibition presents two distinct artistic practices that share a common gesture: removal. Sidhiawati shapes clay through cutting, scraping, folding, and firing. Agugn carves linoleum blocks, removing material until an image appears, before printing onto handmade abaca paper. In both practices, creation is inseparable from subtraction. Unmasking is not only the exhibition’s subject—it is embedded in the process itself.
Sidhiawati’s ceramic works, drawn from the ongoing series Heartquake, Sister to Sister, and Beacon of Hope, navigate feminism, domesticity, care, memory, and the emotional architecture of home. Her slab forms become intimate landscapes, carrying traces of both personal experience and collective histories.
Agugn’s linocuts expand outward, confronting human supremacy, ecological collapse, fear, and the paradoxes of growth. Printed across handmade abaca paper in scales ranging from intimate to monumental, his works reflect the tension between individual existence and planetary crisis.
Although their concerns diverge, both artists speak through an equally uncompromising visual language. Saturated colors, bold contrasts, and layered compositions reject subtlety in favor of emotional immediacy. Throughout the exhibition, each body of work refuses to settle comfortably beside the other. Rather than seeking harmony, the installation embraces friction.
In Love People Try to Unmask Each Other is ultimately an exhibition about what remains when the performance of unity is abandoned. Two artists. Two practices. Two perspectives shaped by a shared life, continuously revealing themselves—not by becoming the same, but by allowing their differences to remain visible.
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refracted
a group exhibition by 10 Bali-based visual artists.
2 May - 1 July 2026
No one–not even the artist–is ever powerful enough to shed everything that ties them to childhood, to place, to the world they were shaped by. One may discard what clings only to the surface of consciousness, but much has seeped too deep–into the nerves and beneath the awareness.
—Sanento Yuliman
Art is the declaration of experience. A mountain may be painted a hundred times over, yet each rendering carries its own story, its own interpretation, its own psychological weather. We, as human beings, never truly see the same thing twice. What Sanento affirms is exactly that our way of seeing–includes as artists, is always entangled with memory, experience, and the life that has made us who we are.
In artistic practice, perspective does not always arrive as a straightforward way of looking at things visually. It is, at its core, a lens that allows us to process an event from many angles and landscapes at once. From this emerges a multiplicity of perception—conclusions drawn from the accumulation of experiences that shape how we understand the world. Then, the truths we hold—even in this very moment as we read these words—exist because of perception.
In this sense, art offers a bridge, one that opens up new and sometimes strange, unfamiliar ways of seeing, yet proves remarkably capable of touching what has long been kept at a distance. The ten artists gathered within this exhibition arrive through vastly different ways of seeing, each carrying their own distinct sensibility. Each one is adept at bringing forth realities that may appear, at a glance, to resemble one another, yet reveal themselves as entirely different worlds once you step inside.
Through Refracted, perspective no longer dwells in certainty but instead, it dissolves into a fluid field of interpretation. Each work becomes a medium that bends experience—fracturing it, then shifting it across an expanse of possibilities. Each artist appears at times to leap beyond the boundaries of form that have long become their habitus. These gestures do not arrive as acts of defiance, but as a means of endurance in translating sensations of experience that now feel ever more rapidly in flux. From there, we are invited to slow down and make peace with the traces of a life that has never been free from change. A Reminder that uncertainty is not something to be conquered, but to be inhabited as a reality that has always walked beside us, and in many ways, it is this very feeling that shapes how we see, sense, and understand the world.
Written by Made Chandra
Artists:
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Artifacts hold traces of life. They carry memory, belief, and gesture across time. In archaeology, artifacts help us understand how people once lived. In digital culture, artifacts appear as glitches, compression marks, and visual noise. Yudho reflects on how faith, doubt, silence, and longing move through a culture where images travel as data and value.
Yudho’s practice developed alongside NFT platforms and art on the blockchain. In that environment, images exist as tokens, transactions, and entries in a decentralized ledger. They circulate globally within seconds, shifting between ownership and speculation. He experienced this space from within and observed how digital works gained visibility and economic exchange, while questions of meaning and presence remained open. Within this networked condition, spiritual journeys also take place. People seek meaning, connection, and affirmation in digital space, sometimes with clear intention, sometimes without realizing it. Screens become sites of reflection, projection, and belief.
Yudho creates his animated drawings through a slow digital process. He draws manually on a tablet, using only white dots or pixels against a pitch dark background. He builds the animation frame by frame. The dots gather and disperse, forming lines that swirl and rotate in response to his hand gestures.
Spiritual tension guides his visual language. He sees digital precision and errors as signs of vulnerability within technological systems. Just as belief contains moments of uncertainty, digital images contain fractures. Yudho enlarges these fractures. He layers fragments and builds monochromatic images that feel meditative and restrained.
After years in the digital space, Yudho brings his animated language into physical vessels. The swirling white pixels now settle into material form. ARTIFACTS presents digital remnants as spiritual records shaped by faith, technology, and value.
Written by: Azizi Al Majid
opening night of Artifacts- solo exhibition by Yudho