I was born in the foothills of Prigen, East Java, and now live on the coast of Pasuruan. Both places strongly influence my works, which often carry themes of plants and the sea with all its life.

My greatest influence is my mother. I often watched her draw in her notebook, just with numbers, yet it was fascinating. Next is Raden Saleh, whose romantic language brought extraordinary works to life along with their history. And of course, Jackson Pollock, whose freedom in creating gives me comfort—his works have influenced mine the most.

For me, success is not about wealth or popularity. Success is when an artwork can speak, touch others, and bridge personal experiences with universal meaning. Success is when inner honesty meets visual form—when feelings rise to the surface through colors, lines, and symbols without words. As an artist born in the mountains and living by the coast, I see success as a process: becoming whole as a human being, sensitive to the world, and able to pour life into art that breathes. More than anything, success is when art brings something home to people’s hearts—like a fisherman bringing back his catch for family, or a lover finally returning to an embrace. “Success is simple: when my art makes someone feel, remember, smile, or cry without knowing why.”

As a graduate of Fine Arts at the State University of Surabaya, my journey did not stop in the classroom. Beyond that, I keep searching, experimenting, and exploring—not just techniques but the soul behind the work. I believe skill is not only technical ability, but also sensitivity, perseverance, and the will to keep experimenting. That is why I combine and modify techniques such as aquarelle and sungging into my own visual language. Nature is my true studio. I visit the sea, coast, and plants not just as painting objects but as spaces of contemplation. There I learn the colors of nature, the rhythm of life, and the meaning in simplicity. I also exchange ideas with fellow artists to gain new perspectives, and I actively join exhibitions, both solo and collective. Exhibitions are not only for showing art but also for testing courage, listening to feedback, and absorbing energy from the audience.

My dream project is to hold a solo exhibition in Jakarta, Yogyakarta, Bali, or abroad. But more than anything, my deepest dream is to create a large-scale work.

The coast has always been close to my heart. It is where I sit in silence, observing and listening to nature through waves, wind, and colors. But lately, that peace has been disturbed by trash, waste, and irresponsible human traces. From that came a deep unease. The coast that once gave me inspiration and calm is now a mirror of our collective neglect—dirty, quiet, and almost forgotten. I felt I couldn’t stay silent. So I began recording the wounds of the coast through my paintings—not to judge, but to invite people to see it again, deeper and more honestly. Through symbols of the sea, fish, and my chosen colors, I want to spark conversations so the coast’s fate is not just a whisper but a voice that is heard. With these works, I hope to awaken collective awareness that the coast is not merely a place, but a living space for countless beings, humans included. It is part of us—our culture, economy, and natural continuity.

There is always a theme and message behind my works. I often go directly to observe plants, fish, and nature to bring into my paintings—so they are not only beautiful but also hold knowledge for us to learn.

I choose not to limit myself to one approach. In the meeting between modernity and tradition, I find the most honest visual language. That is why I merge aquarelle with sungging. Aquarelle, a watercolor technique, allows me to create soft, transparent, flowing moods—a way to express subtle feelings and atmospheres beyond words. Sungging, a traditional wayang-coloring technique, is known for its precision, patterns, and symbolic strength. It provides structure and cultural identity. I personally modify and blend the two—creating a unique style where aquarelle brings softness, sungging brings firmness. One flows like the sea, the other stands rooted like tradition. For me, technique is not just a tool but also a statement: that past and present can coexist in a single canvas. “I believe that when modern and traditional touch, something is born—not only beautiful but also meaningful.”

Choosing the sea, fish, and plants as themes comes from my emotional closeness and lived experiences with nature, especially coastal life. But behind this beauty, there are challenges. One of the biggest challenges is making people care. The sea and nature are often seen as mere backgrounds, not as subjects. I want to change that perception, to show the stories and meanings behind waves, fish, and leaves. Another challenge is keeping expression authentic while using familiar symbols. Fish, the sea, and plants are widely recognized, so I must process them personally—not just as illustrations but as metaphors for life, hope, and the human-nature relationship. I overcome these challenges by experimenting with techniques, blending aquarelle and sungging, and returning to my sources of inspiration—the sea, coast, forests, and fishermen’s lives—so my works remain honest. I also engage in discussions and exhibitions, making my art a medium of conversation, opening new perspectives, and serving not just as objects but as tools of communication. I believe every challenge is a way to grow, not an obstacle. As long as the sea and nature still move me to silence and reflection, I know I am on the right path.

"Plants grow upward, the sea moves in all directions—both teach me that life is never only one path."