Kiara Amartya Mohamad

These objects function as hypothetical "extracted" findings from my imagined world. It is a play on archaeology and readings of history.

A collection of smaller ceramic elements that often come together to function as one larger installation.

This objects functions as hypothetical "extracted" findings from my imagined world. It is a play on archaeology and readings of history.

An attempt to translate, or manifest for myself distant ancestral stories through cryptic scripture and imagery.

Cryptic and distant wishes of yearning. Some days, I wish to become one with a mountain.

These objects function as hypothetical "extracted" findings from my imagined world. It is a play on archaeology and readings of history.

I've always struggled with affirming that there is space for me in this world-- So I built one. I attempt to bring a piece of That Place to this physical reality. That Place is where the horses and elephants roam freely, and where my racialized body can live alongside them, imagining possibilites of existing outside of the existing structures that are imposed upon us. In "To Dwell in Horses (They have always been there)", I invite you to experience this world, and to immerse yourself in the various stories, drawings, characters, objects, intimate and obscured texts and narratives from that distant place.

I've always struggled with affirming that there is space for me in this world-- So I built one. I attempt to bring a piece of That Place to this physical reality. That Place is where the horses and elephants roam freely, and where my racialized body can live alongside them, imagining possibilites of existing outside of the existing structures that are imposed upon us. In "To Dwell in Horses (They have always been there)", I invite you to experience this world, and to immerse yourself in the various stories, drawings, characters, objects, intimate and obscured texts and narratives from that distant place.

The Keris is a renowned sword in Javanese cultures that has strong associations to mysticism and magic. While referencing my own Javanese heritage, I attempt to tease the idea of cultural artefacts by incorporating my own characters into existing symbols in this ceramic object: "How would an imagined Keris from my imagined world would look like?"

"I recalled that sober afternoon vividly. That day, we were lying on the bed. You were sound asleep. When I was young, my family would visit my grandparents in the weekends. Every afternoon, the adults would nap, but I would just lay on the bed solemnly. A cool wind would keep me company, and on that day, the same wind returned, as I lay on the bed, watching you sleep". In this installation, I attempt to access that fleeting memory: It is an active action of yearning and searching what is now unknown and lost in memory.

"I recalled that sober afternoon vividly. That day, we were lying on the bed. You were sound asleep. When I was young, my family would visit my grandparents in the weekends. Every afternoon, the adults would nap, but I would just lay on the bed solemnly. A cool wind would keep me company, and on that day, the same wind returned, as I lay on the bed, watching you sleep". In this installation, I attempt to access that fleeting memory: It is an active action of yearning and searching what is now unknown and lost in memory.

These objects function as hypothetical "extracted" objects from my imagined world. It is a play on archaeology and readings of history.