Citra Sasmita’s work boldly reclaims and reimagines Balinese cultural narratives through a distinctly feminist perspective. Rooted in her deep connection to her island’s pre-colonial heritage, she challenges the commodified, tourist-driven image of Balinese art by reviving 15th-century Kamasan scroll painting traditionally practiced by men and infusing it with powerful depictions of real and mythological female figures, botanical symbolism and ancestral knowledge. Her practice spans painting, installation, textile and video, often incorporating collaborative craft traditions that are at risk of disappearing, such as embroidery with women artisans in West Bali. By intertwining mythology, resistance and ritual, Sasmita creates works that confront colonial legacies and patriarchal norms, offering a profound meditation on identity, history and the sacred feminine, with “Into Eternal Land” at the Barbican in London marking her first solo show at a major institution. She’s currently exhibiting all new works in “Into Eternal Land” at the Barbican in London, which marks her first solo show at a major institution, as well as at the Hawaii Triennial until May 4, 2025 and the Sharjah Biennial, on view through June 15, 2025.
As a self-taught artist, you started your artistic journey outside the traditional fine arts path. What drew you to art and can you tell us about your background, your family and how growing up in Bali influenced your practice?
My family comes from a farming background, and my father was a chemistry teacher at a private school. The idea of becoming an artist was never part of my family’s thinking. I once aspired to study at an art institution, but my late father did not support that idea, so I ended up studying physics. However, I have a strong interest and passion for creative thinking, and even though I studied science, I applied that creative mindset, especially in designing installations related to physics concepts.
How I eventually stepped into the world of art was a very organic process, influenced by interactions with many artists and activists, which laid the foundation for me to use art as a medium to convey messages. On one hand, I believe that being born Balinese was a stroke of luck because I have been exposed to art since childhood, even though it can’t be directly defined within institutional art references. The forms of art found in rituals, daily life and communal cooperation celebrate life through music, songs and decorations in rituals. These experiences have been my artistic deposits since childhood.
What made you decide to become an artist?
My choice to become an artist today is an accumulation of memories and experiences that give me a vision. My creative process mirrors my cultural life; creating art is like planting rice seeds and nurturing them to grow, or preparing a ritual offering as a prayer for the safety and balance of nature. These simple concepts motivate my current artistic endeavors.
You trained under Kamasan painter and Hindu priestess, Mangku Muriati. How did this experience shape your understanding of Balinese art, storytelling and spirituality?
My encounter with Mangku Muriati began with my intention to study the trajectory of Balinese women artists, who have largely been overlooked in the discourse on art in Bali and Indonesia as a whole. This opportunity allowed me not only to learn about the art of Kamasan painting, but also to gain insights into Mangku’s life lessons and experiences as both a traditional Balinese woman artist and a Hindu priestess, who has faced various challenges in terms of existence and ideology in her work. The work ethic and artistic principles of Mangku Muriati have significantly influenced my perspective on art as a pathway to personal growth and deeper access to knowledge. Spirituality is a discipline and emotional practice chosen by the artist as a way of life, enabling her artwork to resonate with the true purpose of art, which is to humanize humans.
Your work often reimagines Hindu and indigenous mythology and challenges traditional narratives. What draws you to these epic tales of love and romance, war and death, the journey to the afterlife, heaven and hell, and how do you reinterpret them for contemporary audiences?
In the “Timur Merah” project, the foundation of its narrative is rooted in literary legacies that have long been considered canonical, such as the Ramayana and Mahabharata. Bhima Swarga, for instance, tells a story of a journey from hell to heaven that is reminiscent of Dante Alighieri’s Divine Comedy. This eventually evolves into a narrative that explores personal cosmology. The goal of the project is to position women as central figures, as many ancient texts and paintings traditionally depict male heroism, while women are often relegated to mere decoration and reproductive roles. Feminism serves as a bridge for understanding the symbolism and narratives of this heritage for contemporary audiences. Although this work draws upon traditional elements in terms of mediums and methods, it also has the agency to address current issues faced by women and broader humanitarian concerns.
