By Rachel Emerson
Nabila Wirakusumah art colors in and out of the lines on a world map. By doing so, she redefines what it means to act as a global citizen. Currently, she identifies as a woman of color. Through this identity, she solidifies her cultural roots and her art.
Originally, Nabila began her life in Jakarta. Later, she grew up speaking English as her first language in Thailand. Subsequently, schools in Hong Kong, New York, and Copenhagen educated her. Consequently, her work speaks to the many influential cultures she appreciates throughout her travels.
Nuance and Matriarchy
Nuance and Matriarchy
After she graduated from Sarah Lawrence College, Wirakusumah resided in Brooklyn. There, she co-founded a collective of artists of color called “Nuance.” Together, this team puts up mixed medium shows. Furthermore, they support marginalized voices within the art world.
During that time, Nabila found herself seeking familial ties. She discovered her family came from the largest matriarchal society in the world. In this culture, society considers women the head of the household. Moreover, families hand down all assets through women.
This realization shed light on the voice Nabila was already cultivating. As she navigated the echoes of her lineage, she found different mediums to express herself. Remarkably, she taught herself Photoshop and coding at age nine. Today, she celebrates the female form with work inspired by Asian pop culture.
East vs. West
Her pieces often boast bold colors and Indonesian inspiration. Additionally, her use of neon tones calls back to the iconic signage of Hong Kong. As Nabila’s voice continues to grow, she dives back into her roots. She does this instead of leaning on the white Western canon.
For instance, her piece Putri Mandiri touches on East vs. West. It highlights how society overly sexualizes women’s bodies. Wirakusumah notes that while people view toplessness as “Western” today, it actually references an Indonesian tradition. Therefore, she creates a dialogue between tradition and modesty.
She emphasizes that contradiction with her medium as well. Specifically, she paints her own figure digitally but utilizes oil painting techniques.
Preserving Tradition
Clearly, the global citizen behind the work has set herself apart. She finds platforms to lift up marginalized voices worldwide. Currently, Nabila works as the illustrator for DRØME Magazine.
Simultaneously, she collaborates with Palantaloom in West Sumatra. There, weavers are reviving a nearly extinct traditional technique called “Songket.” Her role involves preserving this ancient technique while incorporating modern designs.
As Nabila’s voice gets louder, fans amplify her work. Ultimately, it serves as a passionate call for any global human to appreciate.
