Get to Know: Rumantra—illustrator, designer & plantsman

Rumantra is hard to introduce, a person with many deep loves and multiple projects always going on. People’s eyes tend to get very big once you introduce him and run through the scope of his activities. We asked our favorite multipotentialite some hard-hitting questions….

You wear so many hats, tell us about them all.

Creative Director & Owner at Rumantra, Plant Hoarder at Thousands Bloom, Loyal Servant of Toean Moeda Kanda, Teacher & Founder at Melajah Mandiri (Free Creative Entrepreneurship School for Balinese), Production & Curator at Elami & Co

What’s your favorite plant? Answer quickly!

Musa ‘Little Prince’, the tiniest banana tree in the world!

What’s a plant that everyone should know about and why?

OMG, it's a species of Pitcher plant (Nephentes rajah). It is a carnivorous plant that is able to eat not only insects, but also lizards, small mammals, and even bats! BUT BUT BUT that's not the craziest part, the craziest part is it has this (allegedly) mutual symbiosis with tree shrew, so this plant produces some sort of nectar and attracts tree shrews and when the shrew consumes it it works as a laxative that forces the shrew to poop right into the pitcher. This plant then digests it, just like a multivitamin. Nonbotanist people named this plant the toilet plant.

What do you wish you’d grown up to be?

Biologist! Go on an adventure to the Amazon rainforest, finding new species, studying plants and animals, maybe finding Eldorado?

How has your art practice changed over time?

I was the weirdo in art class back in school, never getting a good grade because my teacher said it was too weird. Then as my interest in biology developed, I got more and more interested in scientific illustration.

Drawing to me is like studying, observing, and even dissecting species of flora & fauna. Fantasizing about being a biologist in a lab but with pencils, pens, and paper instead of creepy knives and lab stuff.

How would you describe your drawing style?

It's a mix of etching, line art and decorative with a drop or two of art nouveau/deco.

Besides art and plants, what else keeps you engaged/enraged?

Animals, music, cultures & tradition, weird geeky stuff, street food and Beyonce.

And finally… what brings you joy working in the Elami team?

I mean there are no crazy new age shitty people here so that's good.

Elami just reeks of creativity which I love, so much room to experiment in creativity like for example decorating a restaurant with moss, live crickets, fish nets, lost flip flops from the beach and LIVE SNAKES!

This office also provides great snacks!

Get to know: Kanoko Takaya, Artist

We’re very excited to be able to share this conversation with Kanoko Takaya. Not only an artist we’ve admired and had the good fortune to collaborate with for TEDxUbud, but also because she was the artist we asked to help bring our Loteria de Bali to life. Please enjoy this insight into her art and process.

When did you know that you wanted to become an artist?

When I was in kindergarten or early elementary school.

How did it start? Is there a specific memory that reminds you of the first time wanting it?

When I was a kid, my mom’s job required her to work in Bali too. So sometimes we visited Bali together. I usually spent time waiting for her at a cafe, drawing by myself. I had a sketchbook with me. I never drew something out of my imagination, it’s always been something in front of me.

One day, I had an ice milk tea and I drew it in my sketchbook. A guy walked past me and saw what I drew. He stopped and gave me a compliment. It was just a simple sketch a kid could draw. Then he returned to where I sat, brought his big painting and asked to trade it with my drawing. It turned out he was an artist! He said that he often traveled around Indonesia seeing kids’ drawings, but mine was one of his 3 favorites. Wahhh, I’m so happy. That was the first time someone from the art world gave me a compliment. He also asked for my signature. I just made my signature up and for the first time I felt I was an artist. This is my favorite story of my life. It seems like serendipity too because it happened in Ubud.

What would you do if you were not an artist now?

I never thought about it. Hmmm... I think I’ll still be in the creative industry. Maybe instead of painting, I would make art in different media or platforms.

Is there anything else you want to be or do? How is it going with Mosi Mosi (Kanoko’s clothing brand)?

I really want to have a solo exhibition at Museum Topeng (Setia Darma House of Masks and Puppets). I can imagine myself exploring space and creating 3 dimensional artworks.

If the question is for my life in general, hmmm.. I never really have something I want to do as a hobby. It’s like when someone asks me if I like music, I’d say yes but nothing excites me like that.

Mosi-mosi is good! Mosi-mosi grows slowly and we enjoy the progress. We just signed new consignment deals with a shop in Bandung and a shop in Jakarta.

Oh I just remembered! I do have a hobby! Lately, I like doing yoga every morning and using sea salt for a body scrub! I just moved to a new house in Mengwi. We have a pendopo on the third floor and I always have my morning yoga there.

Also, I like nongkrong (hanging out). I like sharing and exchanging ideas with small circles, or just 1 or 2 friends instead of all at once. Just hang out and talk and chill.

Do you have a personal drawing journal?

1 day 1 drawing every day.

But lately, I rarely draw so thank you for reminding me. I used to draw every morning.

Which part of a collaboration process excites you the most?

Brainstorm! When the collaborators communicate their ideas. Sometimes, I find more things are actually interesting through brainstorming with other collaborators. It’s like an eureka moment. Also, when we complement each other’s ideas.

What does it look like to be Kanoko in her studio for a day?

Hmmm.. depending on the projects. It could be different. But I have a morning routine I like to keep. I wake up in the morning and do yoga. We have a small pool on the third floor and I like to jump into the cold water. It makes me feel alive and it’s an effective way to get my body up. Then, I continue with sea salt scrub and hot shower. I end it with meditation before starting to work.

I will do house chores if I have time after that. If not, I just go straight to work. Like yesterday, we finalized a 5 meter doll for a photo shoot so it was a pretty crowded day. In another time, I’m painting by myself.

I have 2 people assisting, an admin and a runner. They work until 5PM. But I don’t live by those rules, sometimes I will draw until 10PM. Sometimes I go to the market in the morning and cook at night… Cooking is tiring but it’s rewarding with a full happy tummy. I will be too lazy to do anything after that so I just hang out for a while and go to sleep after.

When you drew for Loteria and TEDxUbud, which part of the process you remember to be exciting the most?

When I drew for Loteria, I was so excited by the details. I was searching for characteristics of so many new things I didn’t know about or I didn’t pay attention to before. For example, when I asked you about pecalang, I browsed it and I didn’t realize pecalang is just in Bali. I think it’s cool. I learned a lot about Bali and Balinese from the little things I missed.

I was so excited to draw for TEDxUbud. I have so much respect for that project and Louise Despont, one of the speakers, is one of my idols. I drew the speakers’ and performers’ portraits. I really enjoyed the process because I got the chance to imagine how the person’s character is, what they were thinking about… It’s like I know it all by observing their facial expression and lines. When I watched and/or saw them in person, it turned out to be a surprise for me… oh, their expressions and character are actually a little bit different from what I imagined. It’s fun!

If you took Elami and Co to Japan, which season and important event should we not miss?

Kyoto Experiment! If I’m not mistaken, it is held every summer.

And definitely Naoshima! Imagine an island with different artworks exhibited. They will give you a map so you know where the artworks are. So you can explore the island and enjoy the artwork. One of the famous artworks is from Yayoi Kusama, it’s installed at the beach. Sometimes, you have to come into an ancient house to find artwork too. This annual festival is a must-visit. The island is also surrounded by small islands with limited boat schedules to cross. So you have to make sure you have the two-way ticket and watch your time. It’s like Nusa Penida, Lembongan, and Ceningan only Naoshima is filled with art that is built close to the village.

I went there once when I was in college and want to go back. Especially because I have been creating more artworks now. I wonder how it feels to visit again.

What was the best experience you’ve had from your creative circle in Bali and/or Indonesia?

Pegang-pegang Exhibition in December 2020! I remember Sharon Angelia , my collaborator in the exhibition, and I had weekly meetings. We didn't talk about the concept or what we wanted to create. We shared things we were interested in during those weeks and responded to each other. Then we made a space and just put things together. Following ideas that just popped on our head, like a photoshoot with a man from a market. We made appointments and while waiting for the date to come, I made a costume for him. Also a photoshoot with a long-nailed man. He’s a tailor! He was cutting fabric when I visited him on shoot day. After the photoshoots were done, I continued to work on the chair.

The process started 3 months before the exhibition. That was the first time I worked with furniture experts. Definitely not easy to build a chair. I posted in my Instagram story that I need volunteers to help me. I mentioned that it would be dirty since they need to work with sandpaper and resin. I was surprised that some people DMed me and barely knew each other. There was one volunteer who came every day of a 9 days process. Woah, I thank him very much. I was also feeling a bit uneasy because I wanted to give something to him and I don’t know what and how. But it turned out to be a chill and fun process . We shared ideas and hung out at work. I gained so much from it. I learn how to work with people, communicate my ideas, how to keep the team focused and the process enjoyable. I was so focused on what I did too. The most pleasant thing was that friends came to the site to see the process, they shared it on social media, documented it, and helped! I feel supported.

After all the process, I can still remember how stiff my body was. I was so focused that I worked from 9AM to 10PM everyday. I just took a work day off on Sunday. I feel so cool that I could do that. I would never imagine my body can endure that much work. I was satisfied with the outcomes. The work quality could be much better, but its process has become a precious journey for me. And I feel it was enough. Sometimes I don’t know where to bring this feeling of excitement when the opening exhibition day comes. I still have the adrenaline rush from the process with me.

When I make an artwork, there are always stories and memories. But when they are installed, and people come and see them, I don’t feel the feeling is comparable to how the process was. That’s why I often question myself, do I create my art in an interactive way to accommodate the whole mood so as not to lose the euphoria? Or my art is not enough for me to feel the joy of having the exhibition because it hasn’t reached the most interactive way it could be? Or should I explore more at the exhibition event?! Like for example the festival on an island I mentioned before. I’d like to have an exhibition like that instead of in the white box installed on the wall. I want my art to be close to people.

Get to know: Jana Broto, graphic designer

We sat down with the elusive Jana Broto to hear how she was doing. Jana is one of our favorite graphic designers to work with and an all-round amazing human that you should get to know. We recently worked with Jana and For Good Impact to create a website for Environmental Bamboo Foundation, a non-profit organization focused on climate change and bamboo agroforestry in rural Indonesia.

What are you up to?

Working on some ongoing projects with the For Good team. Also, other projects from my clients based in Australia. I really like Railway Adventures, the company. They have train tours within Australia, Vietnam, and Kalimantan. Yes, I didn’t know either that we have passenger trains in Kalimantan. Recently, they are back to business after they postponed their program because of the pandemic.

What’s your job?

Graphic Designer.

Can you tell us more?

I make visual concepts and layout with design software… I design websites too.

How do you explain your job to people who don’t understand?

My neighbors always link the word designer to home design. So most of the time I point out the closest banners, posters, or flyers I can find at that time. But I think graphic designers solve problems through visuals.

Tell us about For Good.

For Good Impact is a communication team we build for brands that promote good causes. Back in 2016, I moved back to Indonesia because my working permit in Singapore was not continued, but the creative agency company still employed me. So I went back to my home in Jakarta. But since I did my work remotely and flew to Singapore occasionally, I decided to move to Bali. Bali has always been in my mind for a long time.

I contacted Irma, my friend, who just resigned as a Communications Manager at Green School. We then looked for a house to move in together. In the process, we found a house owner who owned a business in Singapore. We talked a while. They sold organic products and were looking for a marketing team. We were interested and thought why don’t we give it a shot as a brand team. So that’s how we started. As time went by, we focused on more local movements and products, NGOs, and environmentally conscious projects, every organization is responsible towards people and nature.

Our first clients were TRI - an upcycled fabric product, U Healing - a healthy fasting program, and NALU - a social enterprise that donates uniforms for students in India with every product purchase. Even though I am still taking projects from corporations, working for brands concerned about sustainability has always been what I want. For Good Impact now has Sani. I’m so glad we have her since she is really good. She makes sure we follow the timelines, meet the deadlines, but are not overwhelmed with the projects. Other team members are outsourced depending on the projects.

Who are your clients currently?

We have been occupied with a USAID project. They are creating guidelines for tourism books in Indonesia. They contain information on the protected areas, how to do sustainable tourism, with many colorful illustrations of animals and maps. We outsourced to our friends too, Flora Marcella who did the animal illustrations, and Reevo Saulus did the map illustrations.

Right before USAID, we worked with Terra Water, a social enterprise business. It is a brand of water filter. Actually, Indonesians used to do this traditionally. We have kendi (pouring vessels made from terracotta) to store water. So Terra Water developed the technology to use terracotta as a water filter. They are produced in Indonesia. They plan to cross-subsidize by providing filters at low prices to poor families.

What do your weekdays look like?

Hmmmmm I.m not really a person with a regular timeline. I do make a list though. With For Good, we have weekly meetings on Mondays. So I just set what I need to do in that week around the workload. Mostly I do the work close to the deadline... I am so easily distracted. I think most of the time I work will be like 1 hour to do A, 1 hour to do B, and probably go back to A in the following hour. The list helps me. I love making lists by writing them on paper. It’s satisfying when I mark the list done.

Zola Bola, my dog, always reminds me to rest by lying down near my desk. When I see Zola sleeping soundly, that will be when I go to bed.

What made you want to be a designer?

Woah, long story. I used to live in Canada. My family applied for permanent residency after the May 1998 riot in Jakarta. My sibling was studying there and my dad’s sister lived there too. In Canada, they don’t have majors for high school. But we can choose which class we want to focus on. I took the general class with a mix of art classes where I learned about printmaking and publishing. I enjoyed them a lot. I used to like to draw as well (now don’t ask me). I used to think about being an animator as well since I love cartoons and manga. Where I lived, we had an Indonesian children’s association. They asked me to make a poster for a club event. That was my first design.

When I was probably 19 or 20 years old, I made a little flyer with Photoshop. So I thought, oh maybe I should go to art school. I applied and was rejected. Twice. Apparently, they wanted written descriptions of the drawing concepts which I was too lazy to make since I’m not good with that. I just submitted my drawing portfolio and that’s all. So, I shifted to my animation dream. I took a programming class. For a year I learned C++ and other coding stuff that I didn’t like. So I quit. I changed to a design major. But, I often skipped classes. We lived in the suburbs, 1 hour away from my college in Surrey. It was the longest trip for me since Vancouver generally is gloomy. Let alone when we’re in winter. I needed to take the Skytrain and bus. Urgh, mager (males gerak = lazy to move). I know that Vancouver is not gloomy as London.

Then my parents sent me away to Jakarta, to La Salle College. From that time, I took school seriously. No play no more. I had a diploma as a design major. But my parents want me to have a bachelor's degree. Typical Asian parents. So I went to Raffles Design Institute in Singapore, finished my degree, and started to work and live there. I guess, design found me.

How would you describe your style?

I don’t know how to describe it. I see my design like a chameleon. They adjust to what the projects need. Why do I have this question? I can’t even describe myself. But maybe I’m a minimalist. Simple lines, simple shapes.

Where can we see your work?

That’s the thing, I don’t make websites for myself. So people who hire me are those who were recommended by my previous clients. I am interested in brand values. Once they stand out and are clear, I love to translate them to shapes, textures, colors…

Are you doing a ‘self-project’ currently?

I started to be serious about making organic compost even pre-pandemic. This big box near the kitchen is filled with worms in soil covered with coco peat. All the vegetable waste goes to this box. While others go to my living compost, Zola,. Just kidding. If I have glass bottles, I collect them for Budi Boleng. Now I have a lot I think it’s time to send them. Budi Boleng makes upcycled bottles in his LOVELIFE Studio.

How do you see design and creative innovation during the pandemic? And its impact on yours?

I follow Covid Art Museum on Instagram. Their response to this situation is funny and smart. Often I think too much when I watch films- like hey don’t touch your friend’s face! Or no handshake! So I guess, I respond to this situation with a kind of nervousness. Also, there’s a little bit of pressure because my friends who work in creative fields are all doing projects in their self-isolation. While I’m not. However, in regards to the For Good Impact team, the pandemic itself didn’t affect much. A lot of companies and organizations use this time for rebranding or updating their websites. One of our clients, Photovoices by Lensa Masyarakat Nusantara, is making a website.

Overall, I think the pandemic itself is affecting us all. The first couple of weeks of self-quarantine, I experimented with food a lot. I did gardening or took care of my houseplants. But then there’s so much going on in the world and don’t we all consume news (or pretty much everything) online? So I guess that constant interaction we have now is stressing us. I get so tired. I’ve had moments where I found it difficult to work. And other times where I had so many ideas but again, tiredness wrapped me first. I even bought Nintendo Games out of boredom once. So I think again. I might say that self-isolation pushes me to pay more attention to my wellness. I deserve to spend time with myself not working and watching series instead, it’s okay to do fun things other than working.

I don’t think the pandemic reshaped design. The design will be the same. The difference will be in the strategy. Like, how to apply the design itself depends on the brand. I don’t think design is significantly changing because of the pandemic. Maybe there is a slight difference, but not merely because of COVID.

What would you like to see happen for Bali’s creatives in the next three or six months?

I am not following Bali design development actually. If you asked me about Balinese artists, I might share a few thoughts because I pay more attention to art. Since moving into Bali, I still find it difficult to find Graphic Designers in Bali who are compatible. Maybe because I still carry creative agency culture. In Jakarta, it is so easy to point out the person or team from where they work/ at which agency and style they represent. I don’t see graphic design stick out in Bali. I don’t know, I could be totally wrong. Sometimes I think probably in Jakarta there are a lot of design schools? Other than that, it’s hard for me too to work with graphic designers from Bali. After a couple of years living here, I have come to accept that I can’t compensate for the reference and quality barriers. It’s so hard to click. I believe there are young people out there who I don’t know yet who make good stuff. I do really hope that Bali can develop its design scene, especially in its education system. Actually, Rumah Sanur is a good hub for creative and design people. I like their local program and network. And I know good artists more than graphic designers. Oh and once more, female graphic designers. We need more of them and need to look at their work more.