Ink on leather

Courtesy of the artist and KADIST Collection

This striking work re fects the Kamasan Balinese painterly language that Citra Sasmita has been developing in her practice. It represents a geography of female fgures, fres, and various natural elements, composed whimsically in an unfolding of pansexual energy. While rooted in mythological thinking through speci fc Hindu and Balinese references, the scenes are part of a contemporary process of imagining a secular and empowered mythology for a post-patriarchal future.

On the foor, the poem The Harbor of Restless Spirit is translated from a fragment of the 14th century Balinese poem called Kidung Wargasari. The kidung, or poem, talks about a Balinese calendar that mentions ten seasons. The poem fragment discusses the fourth season: the fertile season in which nature blooms and the poet receives sublime inspiration and knowledge from nature. It's also sung in Balinese rituals when praying to Mother Nature:

Thou Mother of Earth, Mother Universe 

The intangible unthinkable

As the almighty creator of all seen and

the unseen above the world

Only by Your blessing and grace,

then words become fountain And wisdom become the current

The essence of the beginning is a necessity

As the days bend to the times

In a scene which is expertly played by its inhabitants;

Between giving and stealing lives,

there aren’t many choices

Forest and mountains keep the strange season

Which brings cold and brisk or sweltering heat

These make all beings mortal and

dissolve with world lineage 

Whereas the fourth season, fowers bloom

Fragrant and soluble in the yellow of Tangguli tree

Inundated by the root Gadung that clings and thrives

The season continues without any futile time

All beings began to seed, into trees, into water, into fire

Into life that is waiting to be named.

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