Syasya (2025) reflects on the process of thinking and visual association — how ideas form, overlap, and transform. The figure’s flowing hair becomes a metaphor for thought itself: tangled, fluid, and in motion. The composition draws from motifs of the ancient Langkasuka kingdom, with floral carvings such as the lotus and bunga cengkih reinterpreted through a contemporary lens.

The patterned panel — a grid of crossings and intersections — symbolises the abstract structure of thought. Its tartan-like pattern recalls the artist’s father’s shirt, inherited and remembered, while the flowers in Syasya are adapted from the print of an everyday shopping bag. Complementary colours create what the artist calls “vibrating boundaries,” where hues heighten each other’s presence. Through this visual dialogue of borrowing, bartering, and layering, Syasya becomes a meditation on how ideas travel and evolve — fluid, incoherent, yet deeply personal.

Her works set the stage for semi-fictional narratives featuring friends and relatives as recurring characters. These domestic interiors—rearranged, expanded, or subtly altered—reflect a personal and evolving visual language where memory, design, and daily life converge.