I was born and raised in Jakarta. Like most people there, I once lived a monotonous lifestyle: leaving home early, stuck in traffic, facing the heat, spending all day at school or work, coming home late at night, and repeating the same cycle the next day. A boring rhythm that seemed inseparable from urban life. That shaped me into someone curious about what kind of worlds or lives people experience beyond that monotony I knew since childhood. My curiosity made me observe my surroundings, noticing what others were doing, and seek alternative ways to broaden my perspective. I became drawn to fictional stories in films and comics that offered different worlds from reality. They inspired me to imagine creating my own worlds when I was a child. Later, when I studied at ISI Yogyakarta, I realized that my imagination was something unique, and it would be compelling to bring it to life through my artworks. That is why I paint by presenting the atmosphere of fantasy worlds.

The first artist I knew was Basoeki Abdullah. I saw his works for the first time in a magazine when I was taking drawing lessons in kindergarten. I loved his landscapes, because I had just learned that a scene with dimension could be captured in a flat painting. In developing my own art, however, I have many references that I look up to in terms of artistic achievement, such as Raffaello Sanzio, Michelangelo, Leonardo da Vinci, Affandi, M. Fadhlil Abdi, Atreyu, Kim Jung Gi, James Jean, and Zeen Chin.

Every artist defines success differently, depending on their goals. For me, success is when an artist is able to honestly infuse the essence of themselves into their work. Art should not be created because of external demands, but out of full awareness and the pursuit of aesthetic purpose and meaning.

By observing my surroundings and staying open to absorbing visual information for self-development—whether through walking in forests, parks, markets, food stalls, and so on.

I want to complete and fully structure my fantasy world, realizing it through multiple mediums—from conventional forms like painting, sculpture, and print, to new media such as art prints, and ideally expanding it into games or films.

I want every viewer of my work to see another side of the world—different from reality—inviting them to imagine and reflect for a moment, and to appreciate life, even if it begins from utopia.

Currently, I focus on the call to be more sensitive in appreciating life. We do not live alone—everything we do is interconnected with humans, animals, plants, and even microorganisms around us.

So far, my technique is quite simple: applying acrylic on canvas, sometimes using spray paint, though rarely.

I am a contemplative person and often turn my gaze away from the work in progress. My studio happens to be beside a river, and in the late afternoon the windows and front door face west, letting warm sunlight fill the space. With a cup of coffee or tea, I usually reflect while watching the sky or the river. Sometimes, I walk to buy iced tea just to sit in the rice fields and watch egrets fly across.

“Curiosity is the most powerful thing you own. Imagination is a force that can truly manifest reality. It cannot be bargained with, it cannot be reasoned with.” — James Cameron, a figure who taught me patience in creating art.