According to Nirwan Dewanto in his article “Berahi yang Berterus Terang,” eroticism is not a new feature to be painted in Balinese traditional paintings that we know. While the male painters, such as her teacher Mokoh, “painted them in hiding” – by showing the characters in sexual intercourse with softer colours or with something covering them – Murni “was the opposite.” Murni “strike the politeness of the male and bourgeois” with “her own eroticism,” not looking “heroic” at all. Dewanto also explained, Murni’s paintings “could be a sign that eroticism does not always have a meaning and emancipates” and through her paintings “we already learn how a body can be unattached from anatomy, psychology… gravity…also, especially, to sin.”
Furthermore, Wulan Dirgantoro’s thesis chapter titled “Female Desire and the Monstrous-Feminine in the Works of IGAK Murniasih” quoted Hobart et al stating that parts of the body in the Balinese cosmology have its own level of purity. It is said, “…from the waist down is perceived as lowly or impure…while the upper part… shoulders up is the highest or the purest.” Thus in positioning a person praying to phallus/es like the paintings above, Wulan stated Murni “transgresses cultural boundaries” of the Balinese cosmology of the human body. At the same time, the “fragmented” bodies “reclaim [the body image] from some predetermined representation and reinterpretation by the Symbolic.”
From the discussions by Dewanto and Dirgantoro, Murni’s cultural imageries of her Balinese Hindu belief linger between the subversive and the normative. On one hand, these blurry boundaries are argued so much while purusa pradana has existed all this time. On the other hand, Murni’s painting of praising to a penis or her own additions of body parts on religious altars demonstrates the Balinese Hindu belief she has known. Beside Terimakasih Tuhan, there is also Meruku Megah (meaning: my big Meru) (2001) that shows what could be a Meru (a type of altar that symbolises the gods and goddesses of Mahameru mountain) that has a nipple and heels on the bottom.
She also shows how she would depict praying in Sembahyang I (meaning: Praying) (2002) and Setiap Saat Aku Berdoa (meaning: Every time I Pray) (2002).