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In 2008, Mulyana (b.1984, Bandung, Indonesia) formed his alter-ego, the Mogus (monster), which is an acronym that merges the Gurita animal (octopus) with Mulyana’s family name (Sigarantang). His colorful, knit installations are emblematic of the global social and environmental concerns we currently face and inspire a renewed responsibility for both nature and the respect of all persons.
After completing his graduate degree in art education at the University Pendidikan Indonesia in Bandung (2011), Mulyana moved to Yogyakarta in 2014 to investigate the possibility of community-based projects as an extension of his studio practice. One of the first groups of collaborators he encountered was a community of transgender women in Sorogenen village, which is well known in the Yogyakarta region. Mulyana’s signature medium of soft knit and crocheted sculptures was conceived through this partnership.
Mulyana has presented solo exhibitions at FORM/The Shed in Perth, Australia; the Orange County Museum of Art, Los Angeles; and the USC Fisher Museum of Art, Los Angeles. He currently has an institutional exhibition on view at the Eskenazi Museum of Art at Indiana University (2026), with upcoming exhibitions at the Royal Ontario Museum and Aga Khan Museum, Toronto, in 2027. Recently, Mulyana was included in the 2025 Aichi Triennale in Japan. His works are held in the collections of the Herbert F. Johnson Museum of Art at Cornell University, the Textile Museum at George Washington University, the USC Fisher Museum of Art, the Royal Ontario Museum, and the Motomoto Museum, Jakarta, Indonesia.
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Mulyana's Betty Series offers a profound meditation on the fragility of marine ecosystems, symbolized through his use of recyclable materials and the color white. The choice of white evokes both the purity of a pristine ocean and the stark reminder of environmental degradation, such as coral bleaching. Mulyana invites viewers to reflect on the current state of our oceans and consider the possibility of a radical shift in our approach to environmental preservation.
The use of recyclable plastic packaging underscores Mulyana’s commitment to sustainability, transforming disposable materials into objects of beauty and significance. This act of repurposing speaks to the broader theme of transformation—how memories and past experiences can inspire new beginnings and a reimagined world that is whole and sustainable. His intricate depictions of coral and sea creatures celebrate marine life and issue a call to action, emphasizing the interconnectedness of all life forms and the urgent need to protect our environment.
Mulyana’s coral reef islands are meticulously crafted by hand, with each piece painstakingly crocheted from strands of recyclable plastic, creating stunning representations of marine biodiversity. His installations transform the gallery into an immersive, underwater landscape, engaging viewers on a visceral and emotional level. The collaborative nature of his studio practice, which depends on teamwork to realize a shared vision, mirrors the collective effort required to safeguard our environment.
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Mulyana (Indonesia)Betty 23, 2024Plastic yarn, plastic net, cable wire74 3/4 x 70 7/8 x 13 3/4 in
190 x 180 x 35 cm -
Mulyana (Indonesia)Betty 24, 2024Plastic yarn, plastic net, cable wire82 5/8 x 74 3/4 x 13 3/4 in
210 x 190 x 35 cm -
Mulyana (Indonesia)Betty 25, 2024Plastic yarn, plastic net, cable wire74 3/4 x 78 3/4 x 13 3/4 in
190 x 200 x 35 cm -
Mulyana (Indonesia)Betty 26, 2024Plastic yarn, plastic net, cable wire65 x 51 1/8 x 13 3/4 in
165 x 130 x 35 cm
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The Harmony Series:
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Mulyana (Indonesia)Harmony 59 and Xander, 2024Yarn, Dacron, Plastic Net, Cable Wire (Harmony 59)
Yarn, Dacron, Felt, Beads (Xander)75 5/8 x 19 3/4 x 79 1/8 in
192 x 50 x 201 cm -
Mulyana (Indonesia)Harmony 60 and Xenia, 2024Yarn, Dacron, Plastic Net, Cable Wire (Harmony 60)
Yarn, Dacron, Felt, Beads (Xenia)75 5/8 x 19 3/4 x 79 1/8 in
192 x 50 x 201 cm
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On a macro level, Mulyana’s profound concern for the eroding environment and our collective lack of care for the natural world, parallels the importance of self-care on a micro level. His message encourages a holistic path to self-preservation amidst a chaotic and uncertain post-pandemic world. While Mulyana does not overtly reference gender and sexuality in his intricate installations, the diversity of his colorful environments and spectacular costumes allude to the fluidity of human identity. His commitment to promoting shared values emanates from his spiritual understanding of human dignity, an outlook that honors the totality of creation. By constructing elaborate, magical worlds, Mulyana hopes to ignite our collective imagination to cherish creation and reveal the beauty inside each of us.
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Costumes:
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Mulyana (Indonesia)Form of Silence, 2024Plastic yarn, plastic net, cable wireThe costume is shown with coral sculpture at the bottom.
$34,000 - costume and $49,000 for costume + coral sculpture -
Mulyana (Indonesia)Adikara, 2021Yarn, cable, wireVariable dimension -
Mulyana (Indonesia)Nayanika, 2021Yarn, cable wire, felt, dacronVariable dimensions
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Masks and costumes are seminal expressions in many folkloric traditions that can signify heroic acts, define religious celebrations, channel spirits, or provide entertainment. Masks in particular are a metaphor for the facades we construct to conceal the ‘true self’ from our neighbors. For Mulyana the impulse behind the Adikara and Nayanika costumed figures is intended to achieve the opposite—for him, these avatars more accurately embody his personality than the Mogus characters are able to do. These figurative tableaus speak to the universal struggle of becoming comfortable in one's own skin and resonate profoundly as we grapple with this unprecedented era of isolation and uncertainty of the pandemic.
Mulyana’s work directly engages the audience: His immersive installations captivate viewers of all ages both with their fantastical portrayal of oceanic life and his attention to detail in the creation of his creatures. The enveloping experience underscores the precarious nature of complex ecosystems in the sea and examines the peril that this sanctuary is in, as a result of global pollution levels and climate change. Because of his commitment to sustainability, Mulyana incorporates repurposed yarn and support materials in his process to minimize new industrial material production, as well as recycling parts of his installations into new projects.


