An intimate portrait of a female figure in the grass. Her jacket falls loosely off her shoulders, her tanktop is white lace. She's wearing jeans. Her hair is red and lost to the grass. In a light purple, crystalline rendering the branch of a callery pear tree sits right of her. The top strip of the composition is a pink rectangle with biological abstractions of pink, intestinal coils and blue multi-legged spirits. Takes inspiration from a Sam Sax poem 'To My Niblings' as an appreciation of sexuality as normal and meaningful. An intimate portrait of a masculine figure lying partially on his elbows but mostly against a bathtub as he bleeds out from disembowelment. His intestines fall from his stomach, the blood pours over his crotch and pools on the floor. He looks directly at the viewer with wet eyes. Just over the the wound a border of light yellow envelopes a square image of a pomegranate. Above this is a tasbih on a green background. The background tiles are dirty. About how pain and sacrifice is intertwined with desire. A figure with tan skin carries a white cloth from their back, it trailing to the left of the composition. Silhouettes in the shapes of ghosts intersect with the cloth. As they intersect the background, stippling is revealed in reference to David Garneau's dot paintings comes together to indicate seasonal environments. As they intersect the cloth, the cloth, cultural textiles with personal meaning are revealed, in order: Japanese kiku, Islamic arabesque, Indonesian batik, Indian patola. Holds parallel to the work 'remembrance duty; as interpretation of community through immigration, and its carriage into the future. A multimedia piece of a painting set behind a mashrabiya (Middle Eastern oriel window, originally used as water coolers but became leisure windows used predominantly by women). The painting itself is of a mashrabiya, rendered in orange and purple, framed by the shadows of trees. In the lower section is an appropriation of Anthony Cudahy's fear painting in red, purple, green. The mashrabiya's arabesque patterns were hand-designed on Photoshop, before being lasercut on MDF panels and pieced together. Represents the issues of visuality, discussed by Nicholas Mirzoeff. across and in gender, religion (specifically Islam), and culture. Reza Rahadin models Sapto Djojokartiko on the runway. There's a box which takes up most of the upper right intersecting partially with Rahadin, which reveals another piece of Djojokartiko's collection. Where Rahadin's figure overlaps with the square the lighting clarifies from the holographic overlay. The words 'close it with sleep stretch arc from the top left to the bottom right also in a cutout of this overlay. A spiderweb logo is in the bottom left corner.