Punia is the only artist coming from Jembrana, West Bali, Murni’s origin. This Satelit Purba (meaning: Ancient Satellite) installation interlocks the concept of mythology (eastern superstition founded on primitive logic) and technology (western modern scientific progression), which he has questioned its dualistic division. Found upsetting by several audiences, his work is a kind of ‘taboo’ as he reinterpreted religion through art after receiving his request of guidance through his belief, which was communicated through his dreams.
Working based on dreams become a connector of Punia to Murni, while a Jembrana Ideology – a term to sum up how Jembrana as a marginalized area in Bali contains people who believe any thoughts are possible – Murni’s interpretation of sexuality to be said taboo was because she rise with this matter in Gianyar, not Jembrana. This interesting phenomenon become new knowledge for us in understanding the Balinese art scene and what could be a contributing factor of how Murni was seen as ‘different’ during her time.
Punia Atmaja artwork in Merayakan Murni exhibition:
Satelit Purba, 2013—2016
Installation (paper mache sculptures, mixed media paintings, objects)