Get to know: Michellina Suminto

Let us introduce to our very own Michi, the multi-talented, perfectly right-brain and left-brain balanced member of our team. Michellina not only balances a budget and schedule beautifully but is an incredible photographer and hand-lettering enthusiast. We asked her a few questions.

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You are so talented! Tell us one thing you are secretly bad at.

Thank you!! Doing the Asian squat 🙃

Why do you love illustration and typography?

It started back in elementary school when we were asked to copy one sentence in cursive and fill the whole page to practice. I simply love the act of writing and drawing, also the feel when a pen/pencil touches a paper/board. Those strokes… bliss!

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How did your practice change over time?

The first time you get into something, it’s all about learning basic techniques and rules.

For me these days and most of the time, it’s kind of a quantity-over-quality situation. I want to perfect a style I’ve studied before (I want to achieve that “font” look) or explore the variations and looking back into your practice book shows a lot.

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Sometimes I also dissect structure, look up the history (yes, am that geek. But you’ll be surprised with how much the term actually says about something, the meaning can be quite literal), and try to analyze the practice of the day.

I LOVE picking apart every little element that built up a style. It makes my brain process information better!

Oh, and NEVER, EVER, skip warm-ups. Have to maintain muscle memory.

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Why do you love doing events?

Simply being surprised with how one event pushes the team’s and my limits, like you are being stretched to every possible end in a good way. And every time we are doing a new event, it feels like I get to know and “conquer” a new planet of resources, knowledge, and possibilities; things you never knew you could make happen.

With that said, I have always been a planner person. To see months of preparation come into life in a day is something that never fails to delight me. There is a very distinct satisfaction that comes from it.

Seeing people having a great time and being blown away by unexpected elements is a sweet bonus!

How do you keep endurance during events and tight timelines?

Big breakfast, vitamin, and good footwear on the day of the event are a must.

Oh and Proud Mary and Great Balls of Fire (kinda on repeat) on my way to the event!

I think the rest comes from adrenaline and good energy rush.

During events, my brain shifts to “is everything/everybody alright?”, “does anything need fixing?”, “what’s happening on stage next?”, “is the team doing good or does somebody need help?”, and so on. And before I know it, we are already tearing down the venue again.

What things bother you in general?

Quite a lot actually because I tend to overthink the overthink.

How do you manage it?

Always be open for a “slap”; may it be a good hard smack on your face or a nice gentle tap on your shoulder. It’s always a good reminder to ground yourself.

And not to panic or when I reach the panic state, panic inside first before projecting it outside.

One breath at a time :)

What brings you joy working in the Elami team?

MOUNTAIN OF SNACKS! Just kidding.

The amount of non-generic things that we need/have to do for a project is pretty amusing sometimes. We keep discovering alternatives and exceeding our limitations. It is very rewarding in a certain way.

It literally has been and still is an endless learning experience.

2 years (and counting) with Elami team, I am still constantly amazed with how Dani’s brain works when she’s doing her wiz on designs or how brilliant (which is an understatement) Mila is at storytelling (spoken and written) or how Ajeng put together a killer playlist.

((Thank you for letting me pick (and peek at) your brains, ladies!))

At the end of the day, we do make a killer team!! HA! 😎👊

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The Launch of Snakes and Ladders by Made Griyawan

For our second reimagining of Balinese Snakes and Ladders we commissioned Made Griyawan to create an original artwork with his vision for the game.

He created this incredible underworld inspired by his relationship with the sea and also his desire to see a marine ecosystem free of plastic for the next generation of Bali children.

Made Griyawan is a master of translating local tales of his culture into paintings that continue the long legacy of Batuan style. He created this original gameboard as a standalone piece of art which was then reproduced digitally on canvas. The game comes with animal tokens and dice made from bone, hand-carved by Bali artisans.

Made Griyawan’s interpretation of Snakes and Ladders takes us into an underwater world filled with denizens of the deep, including sea snakes, sunfish, turtles and more. Roll the dice and travel up to the surface towards Bali’s magical volcanoes.

Details:

Original drawing by I Made Griyawan and reproduced with permission by Elami in Bali, 2020. Digital print on canvas. Handcarved bone tokens and dice.

Size 65 x 65 cm / 25.5 x 25.5 in

Our online shop is live!

You can now choose from 5 different curated gift boxes, shop our little monoprint boxes (great as smaller gifts), and our popular Snakes & Ladders board game. We're shipping worldwide, and it's free in Indonesia!

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Gifts that people actually want. We are now offering 5 distinct gift boxes, all crafted with the goal of bringing the unboxer a big burst of joy.

1 »» HOME GEOMETRY (our best seller)

2 »» THE CHILD WITHIN

3 »» LOVE FROM BALI

4 »» DREAMDUST

5 »» TEA QUIERO BOX

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We're biased, but we believe Elami Boxes make perfect gifts. Each box is filled with beautiful and sustainable products—products that people actually want. Cherish your family, friends, and clients with a gift they will remember. Customize your box with the message you want.

Little—but mighty—Monoprint Boxes

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The story behind these boxes is quite special.

We tried to digitally print our iconic monoprints to streamline the production, but when we saw the result, we realized the only way to translate the textures and uniqueness of each print, would be to create one by one, by hand. And so we did! Mila got busy and created 100 unique artworks. Each one is literally one-of-a-kind! And the quality is to die for. Imagine when we saw them all together!

» Available empty (IDR 150k)

» or with a little gift inside (IDR 250k), choose from:

OPTION 1: add a set of five greeting cards,

OPTION 2: add a set of incense with a custom-made ceramic holder.

All come with a free cotton reusable pouch.

As always, you can WhatsApp us to order via bank transfer or pay with your credit card directly on the site.

Please feel free to contact us if you have questions.

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Get to know: Made Griyawan, artist

We’ve been honored to work with Made Griyawan over the last year. Pak Made is part of a long lineage of Batuan artists and brings a fresh style to the tradition. We got to know him when worked with him for an exhibition of his work at John Hardy Jewelry in Seminyak and find ourselves captivated by his world view, how he sees his art, and how he’s working to pass his knowledge down to the next generation. We’ve also worked with him to create the second edition of our reimagined Bali Snakes and Ladders- launching in late 2020.

We sat down with him to ask him a few questions and, as always, felt grateful that we are able to sit and listen to his thoughts on art, life and 2020.

All photo credits to Suki Zoe.

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When did you start drawing? What was your first one?

I started when I was 7 years old. I used to like to watch Bapak (Note: Made Griyawan’s father is I Wayan Taweng, part of the renowned first generation of Batuan artists) paint. At that time, I took the rest of the paper and drew my first sketch, a leaf, with pencil. I was persistent so Bapak started to give me the whole piece of paper. He said to me, ”Draw whatever you can without copying me.” He was my only reference, so that was hard for me. But I followed what he said and tried to draw anything that came across my mind or that surrounded me.

When I was a child, we used a palm stick dipped in the ink as a paintbrush. Actual paintbrushes were so special. I was happy when Bapak allowed me to use a paintbrush when I was in junior high school. Before that, I was just practicing my sketching and drawing. Although my siblings and I sometimes secretly picked up a brush (if we were lucky) and used it- I still remember how Bapak was mad if he found out.

So I began to paint. Bapak paid attention to my patterns when I was painting. I tended to not finish a painting and start a new one. So he said to me, ”de kutang-kutangan megae, selesaikan apapun hasilnya. Mau nanti tidak suka, terima saja dulu” - don’t stop work halfway. Always finish what you do and accept whatever the result will be. I kept painting even though I never dreamt to be a painter.

Back then, I was an active member of the volleyball team. I made it into the top high school through my volleyball accomplishments. I was so persistent and I got to represent Bali in the national tournament. However, I always painted. Even though I never thought about wanting to be a painter.

After I graduated from high school in 1997, I worked as a driver based in Monkey Forest. In the downtime between tours, I made time to paint. I still competed in the volleyball tournaments.

10 years later, after my marriage, I quit volleyball and focused on working as a transportation service provider. Still, I was painting for my own pleasure.

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Then we had Gangga, my daughter, the following year. My wife and I were working and we thought one of us should quit our job to take care of her. I knew that my wife was happy with what she does. With the system we have, I didn’t think it would be easy for her to return to the job if she took the time off. I saw so many women lose that opportunity, either after they gave birth or resigning for some time. So I quit my job and managed the household. In those times, I painted to pass the time. I never had the idea to sell my paintings. Until one day, a foundation from Singapore came to Batuan to run an art program preserving Batuan paintings. They came and curated some of Batuan paintings from our villages. My painting was one of the chosen. Since then, the universe works the way it works.

What is your inspiration? What kind of conditions/situations inspire you?

My father's collection, always.

Back in 2009, I had a question. What should I paint so they can live long like the Mahabharata legend? I think I started painting my wondering on canvas. Be it questions, reflections, or current wisdom. Because then people who look at my paintings said that my paintings are philosophical. They project life purpose, self-development, and selfhood.

I also paint every morning, right after I get up from bed. From 6AM to 11AM, I can bear to sit and paint the whole time. After is my free time. Sometimes, I also paint at night. But often only for making sketches.

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I always remember the concept of Tri Murti: Brahma, Wisnu and Siwa, who are responsible for creating, taking care of, and destroying. When I am painting, I am the Brahma. When it’s done, I take the role of Wisnu. I learn to not become attached to my paintings even though part of myself is always in my paintings. So when they’re gone, that is the time when I’m ready to make the new ones.

So, before the painting knows its next journey, I take care of it.

Do you know where the most inspirational place is?

Toilet! (excitedly spoken like an eureka moment).

Beneran (really).

Toilets are sacred!

What is your favorite fable?

Dongeng Tantri or Tantri’s tales.

Naughty monkeys, stories about nature, fishes, elephants, water… I really like them.

Tantri is a daughter of Patih who was married to a King. The king likes to sleep around with women everyday. Putri Diah Tantri doesn’t like his character. So she always tells the king different stories every night before intercourse. The king enjoys the stories and is too tired after to sleep with her. That continues to 1001 stories, until the day the king died.

What does your down time look like?

Going to the beach alone. I really like Pantai Pabean in Ketewel. I go there almost every afternoon. I always feel like I have a connection with that beach. Later, I found out that it holds a lot of Balinese history. It is the place where the Gajahmada expedition started. Perhaps - in the seventh century, I’m not sure - the beach also used to be a major trading port in Bali.

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Can you tell us about the children learning painting in Batuan?

Since the pandemic, this program has been stopped. We used to have 2 sessions on Sundays with a maximum of 25 children per class. But then we reorganized around 2 months ago and applied the social distancing protocol. Now, we only allow a maximum of 10 children and only organize one session on Sundays. I’m glad to know that they miss painting together and enthusiastically return to the class.

I remember we built this community back in 2018 to introduce painting tradition across generations. We want them to see and know. If some wanted to practice more, we are here to teach. If some didn’t enjoy the class, we don’t force them. It is their will. This community has grown and not just in my Banjar now. There are some children from other villages too like Ketewel, Saba and Ubud. I love to be with them and see their spirit.

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Why do you paint? And we also know that you like to paint on different media as well.

To paint is a calling. I really enjoy the painting process.

I also enjoy experimenting. I paint on dried maja (a type of fruit which belongs to the rutaceae family. It is known for its bitterness and inspired the naming of Majapahit), unique shapes of wood I found on the beach, plant pots. I like the challenge of finding a way for the paint to stay on certain surfaces. I think we artists should not limit ourselves since our achievement is freedom itself. Some people say that my experiments are not Batuan style. It’s ok with me. I don’t need to secure a prestigious label. I like doing it. I play with a lot of natural dye lately.

How do you see the development of Batuan style?

I see it is harmoniously growing. The Batuan artwork from the 1930s tended to have dark shades. A lot of them are one object exposed in the middle with the black color blocking the background. I think this certain style was affected by that time’s perspective and rare painting materials- we used to paint with self-made charcoal.

Talking about Batuan as the community and style, in my opinion, it is actually Bali tradition that lives in Batuan. But we call it Batuan style. Now, for me, we can call it contemporary. The objects and materials are shifting. For me, tradition should follow the age. There’s an expression in Balinese called Desa Kalapatra: Desa is area, Kala is time, and Patra is material. It means humans need to adjust to what's served/available here and now. Value is not measured from the material or the theme, but in our sense of the work process itself.

When I am painting, I always look at it as yadnya or an offering to God who lives inside me. Do what you can and give the best.

Have faith in the process. I believe every artwork will have its own destiny. They have their own journeys.

In the future, I want to see the Batuan community be sustainable. The painting process of the Batuan tradition contains ethics and character development that should be maintained. I find my self-discovery through painting. I also see some children who were unmanageable become more relaxed, aware, and calm. I think the painting process is really important for identity development.

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What question do you think people should ask? That people won’t know to ask, but need to know the answer to.

How can I survive?

Many people ask me that question and are curious about how I face the pandemic. Especially because many people have financial difficulties. In this reality, I keep working without thinking about how it will turn out. I see the pandemic teaches us about crises. Even I haven’t found a way to make peace with myself in this condition. So that’s why I think we need to create our own harmony. For me, I have been working from home for years, so there’s no significant change in my daily habit. Instead, I use this time to stop, breathe, and look inward.

My wife works as a nurse at Bali Royal Hospital, Denpasar. Luckily it is not the main referral hospital for COVID-19 patients. Although we will never know what will happen. My wife and I just do what we can to keep ourselves healthy, mind and body. So in the meantime, dwelling in frustration too much is a waste of time. Instead, calm is necessary and we keep doing what we can do according to our respective roles.

I have been asking to hold online workshops, but I don’t have good devices to support it. I don’t want to force it. Actually, I feel so grateful I can spend more time with my family. This pandemic situation makes me think about the father and mother definitions as well. For me now, a mother is someone who loves and a father is someone who protects. Regardless of gender. These masculine and feminine energies are complementary.

Gelatin plate printing and monotypes

In 2020 you may have noticed some a new style coming through Elami’s designs. We’ve been exploring and developing monotype techniques using gelatin plates.

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The gelatin plate technique was developed by Fran Merritt (1913-2000), a printmaker who wanted a portable printing method. There’s a great overview here of the practice.

Using actual gelatin lets you pick up incredible detail from Balinese materials like canang offerings, and tropical botanical textures from flowers and leaves.

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Get to know: Tassa Agustriana, foodie and entrepreneur

We had the pleasure of working with Tassa Agustriana when she was still with Big Tree Farms and we’ve been following her story ever since, from her search for the island’s best negronis, to her love for Indonesia’s best edible treasures.

Tassa has a brand new project that we’re excited to watch: Re-Publik is a social enterprise concept dedicated to team members who lost their work during the pandemic. A place to collaborate and help the artisan maker showcase their product. A place to meet over coffee, brunch, work online and reconnect with loved ones. Check it out next time you’re in Berawa. She’s also part of the Archipel Coffee team: Born in Bali, they bring Indonesian coffee to the next level. A blend of Kintamani coffee with Indonesian spices from Maluku. The islands were known as the Spice Islands because of the nutmeg, mace, and cloves that were exclusively found there, the presence of which sparked colonial interest from Europe in the sixteenth century.

We asked her a few questions so you can get to know her too.

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Please share your story… Why coffee? Why Bali?

I studied Food Technology and graduated from Universitas Brawijaya, Malang, East Java. I grew up in Banjarmasin, South Kalimantan, until I was 17 years old. Back then in Banjarmasin, a lot of my friends took medicine, or engineer, architect, planology, legal studies … They are the majors that symbolize the success of parents who send their children to school. However, I can’t draw so I can’t be an architect, also I can’t take medical studies, I can’t even bear to look at the blood. So I was looking for the best fit for me. I thought food is essential, but I don’t like gardening. So I was interested in learning post-harvesting and processing technology. I used to think to work at Nestle, Indofood, or other big manufacturing companies. Quality management systems and regulations for the international food trade have always fascinated me. So I took them for my program studies.

After I graduated, I had to come back home just like other Indonesian children after being sent away to school. At that time, I was accepted for an internship at Nestle. But my mom didn’t allow me to go because I had been away from home for 5 years. She wanted me to come home and assist my uncle. He was in the process of building his company and needed me as part of the main team. So I promised her to come back home only for a maximum of 3 years. We agreed. Turns out that was my learning point in the professional world. He built a drinking water company and wanted me to take care of the initial stage. I didn’t have any experience but he just gave me general information about what he expected, the timeline, and the budget. I was just around 21-22 years old. I asked my seniors in the professional field a lot and just did what I could.

After the second year, I still wanted to go outside of my safe zone. I think my uncle understood me. He knew that I was at that age where I still needed to prove and acknowledge to myself that I can use my skills for something more, without help from family. So I applied for jobs. I found Big Tree Farm through that. Never had I ever thought about Bali. My family always goes to Java for holiday and mostly Jogja. In the following 2 months, Big Tree Farms called me to schedule an interview. Within 10 days, I moved to Bali. I immediately handed over to my uncle; what departments he needed to recruit for and what other things in detail he needed to follow up. Fortunately, I did most of the work earlier, to set all the systems, ready for the upcoming opening. So here I am, many years later.

With coffee, I have another story. I met Dee-Ann, Archipel’s founder, who is based in the United States. She is the product inspirator. I am one of the shareholders and I handle the management. We used to like to hang out at Seniman Coffee and by coincidence at Ubud Food Festival. She has a child who studied in New York and another who used to be a Green School student. So from those circles, she noticed beverage trends. At that time it was pumpkin spice latte. She knows that many brands use food sweeteners and artificial flavors. So we thought why don’t we make the original version.

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In Bali, Kintamani is the best source of coffee. Maluku in the 16th century used to be colonized because of its spices. Dian and I then started to develop Archipel. Drinking coffee has become part of our daily life as well. We experimented and sold small batches. It took us almost a year to finalize the product. We went on many trips to Maluku for sourcing. We went to Banda, Seram, Tidore, Ternate, Minahasa, and Halmahera too. Also, I have a friend who grew up in Holland but his family is from Maluku. My friend has a good relationship with Maluku farmers so we use the spices from the farmers’ families.

When we did the formulation, we were just so overwhelmed with how good the spices are. They are just so fresh and have good qualities. Wait until you try nutmegs from Banda too, the native land. We only need to use a small portion of nutmeg and the taste is so rich.

Back then, Dee Ann was in the middle of the process to move to the United States. It was after my resignation and I was wanting to just be an independent consultant. But then she asked me to run the company. If it’s happening, she will handle the US market. She is a marketing person. She enjoys doing that. So I guess if I am asked to articulate what I am doing, it is connecting the dots. Suppliers, ideation, product development to operation.

How would you describe your project?

I have #ThriveFoodConsulting, it’s my very first independent project.

Let me share with you how it began.

From 2011 to 2017, I worked for Big Tree Farms. I developed their quality department. The last one year I was in the team, I supervised Big Tree Farm’s big facilities in Solo and Jogja. Back then I was overseeing Bali, Jogja, and Solo. After a while, I decided to just step back and rest.

Right after my resignation, I was actually in the state of looking for a new position. But then I happened to get a project. I was asked to make research on technology for an alternative sweetener. We used sugarcane juice. Before that, many of my colleagues asked me whether I want to hold a consultation session. For example, to consult about the food legality management, or an overview of the food industry in Indonesia. They said I should use my background and experience in quality and food safety. I was used to dealing with the audit process, especially for organic and natural products.

So that is how I had the idea to offer my services. I enjoy it so much. I think it's because the process is close to the product development process, where my creativity takes place. There was a moment when the project finished, I asked myself why I left such a secure life when I was in Big Tree Farms. To be honest, after 7 years, it’s not easy to let go. Moreover, this is my very first attempt to offer my own service by freelancing. But I am excited.

Can you share about the fair trade practices that are the fundamental values of the brand?

I source from the sourcing suppliers who get the spices directly from the farmers. Some of the suppliers that we met are closely connected to the farmers. So we can extend our networking with the farmers and ask them about prices. I compared the prices myself to other suppliers and traders. They are more expensive. But again, we are committed, so it’s better for us to buy more expensive spices but the money goes directly to the farmers. We think about the small stuff we can do now.

I do really think that people, the consumers, have learned in the past 7 years about which products are just sustainability tagged. Always look at how far the company and the brand are giving you information about their supply chains.

We are so used to mass production that gives us good prices in the big market. I know it’s working. I don’t say that they are doing something worthless. I understand they make a big effort. I also learned in Big Tree Farm how a company’s vision focuses on the sustainability of the people. Because so many big companies focus on the product, but forget about the person behind the product.

Archipel’s vision is towards the sustainability industry. Where the whole concept - from the very small parts - is a very high quality product. It means how you treat the people working with you. Even though we are still only a year old, I believe we have good intentions and we will always find a way. We care so much about sustainability and not just abusing the word.

We visited the farmers again after a while to check their stocks and trace the beans so we know the origins. It is such an amazing experience. From that I know the price. It is so saddening that a lot of farmers use the old prices. I know how much things cost once they are in the international market. The gap is crazy.

The farmers grow all the spices naturally and harvest from their backyard. Many families do this. They sell household batches with cheap prices to collectors, then the collectors sell the selected and bigger batches to traders. The most shocking thing I found out is there is no involvement from the government to facilitate an integrated system for drying. Every time I am in Banda, I feel like I go back to the past decade. Also, the cooperative system is not popular there. I only found one farmer in Tidore and one farmer in Ambon who are in a cooperative. Can you imagine the journey of imported spices? From Ambon to Surabaya port, before being exported, or from Halmahera to Sulawesi before going out from Indonesia. Everything is so expensive there because according to logistics, we know they have difficulty with physical access and delivery routes. So when you buy a coffee, the money doesn't go to the farmers.

Since then I contacted some of my colleagues in the Food and Beverages Industry in Indonesia to share my experience and thoughts. Some of them are sourcing in Sulawesi, Papua, or Maluku. They told me the same stories. Farmers are the very bottom of the chain. Archipel cares so much about this and we ask ourselves, What can we do? What do we hope for? So through this project, we aim to grow bigger and stronger so we can give impact sustainably and invest in those things. We don’t know yet what exactly it’s going to be. But we always approach the farmers to get insights and ask them directly how we can help. One of the things that I do is to keep in touch with my colleagues in the Food and Beverage Industry who are linked to the government. I keep up with their projects to know if there’s something Archipel could participate in. We are also aware that Archipel is still very small now.

How do you maintain the relationship with the coffee farmers and what is your takeaway from the journey?

I’m so happy I have such a very broad point of view now from the farmers. When I talked to them, it reshaped what I thought a real problem was. They also talk in a simpler way. But their questions are challenging. They just open my mind to things I didn’t know. I used to be a homebody. From the experiences I had in my work, I went to several remote areas. I think that’s what we should do if we work in an agricultural community, especially if it’s organic.

We need to explore the hills, mountains and forests. The experience really led me to appreciate artisanal work, which is done by all the local farmers themselves. I used to take food on my table for granted but when I saw how long and complicated it was to make a handful of coconut sugar, it shifted how I define a simple product.

Also, I appreciate how the family plays a role hand in hand in harvesting. You can see they are the most modest people you have ever met but they are actually ruling what they do. And that has been going on for generations.

What’s been your experience running a business during this period?

Crazy, definitely hard. I am lucky because there are still some clients using my service. It is essential for their business to have me to assist and run. But the hardest thing is of course you have to be… well, controlling the budget is always the thing you have to do, but you are finally at the point where you decide after 4 months as much as we want to give you full hours and full salary, we come to realize that we need to adjust. That’s the hardest part. To talk to your team that there are no orders in the future for us to keep running. Production cost, we can control it, supply is going to be hard, but again we can not close our eyes to the fact the demand is also decreasing. It might go to 20-30% while the operation cost keeps running. Thankfully, my current projects are the projects I have worked on since last year. Our budgets are allocated to certain times of our working capital. I can not imagine how big companies deal with the previous profit and current loss.

A market targeting foreigners at first is actually very volatile. Things like this happen, so I really think we have to be open-minded now. Maybe this has opened my eyes too. In the artisan organic natural product world, most of the targets are foreigners and/or travelers from other countries. Because they are the ones who probably have the buying power. They also understand the product. Now, what I see is with the pandemic, who else is going to buy? At least, we can depend on the local market that understands the product and can also afford the product.

I often feel funny about it because I make something local but we can not sell it to locals. Many companies don’t realize this fact.

The ones who support you always are your closest community. We need to build something from the community and for the community. Yes, we might source locally but often we forget that it also has to be for the community, not just the supply side but also to who consumes it.

The quality must be good and enjoyed by everyone. At Archipel, we use coffee from Kintamani. Recently we also source spices from the same area like red ginger. Also vanilla from different parts of Bali, or long pepper from Jogja and Sulawesi. We are always looking for the closest we can reach so supply isn’t disturbed. Always trying to make something from the raw materials grows near where we live.

It’s been hard to search for suppliers. Yes, we still have some inventory. But we still need to refill and we can’t do that from where we source in Maluku. Then we thought, Indonesia is large, we can always try to get them from other sources. Also, the Food and Beverage manufacturing circle allows us to exchange information, so that’s the other way to avoid big trader chains.

What’s next for you?

For me, I am focusing on Thrive Food. I want to make a one-stop boutique consulting company that focuses on organic natural artisan food. We have space we can do anything from legal, ideation, product development, packaging development, to make things like a pilot production to commercial production. Now, I’m by myself but I still work with other parties for product or packaging development. But I really want to have a solid company. Through that, I want to help more artisans and restaurants like Room4Dessert or Locavore or anyone who wants to source anything from Indonesia. Create something using Indonesia ingredients, so they can export them but also target their products for the locals. There are so many talented people in Indonesia who just become unseen but I want to place them at the forefront.

The Write Away Project

We’re collaborating with the talented Maya Kerthyasa once again on something special- the Write Away Project:

Hey, remember postcards? It’s time they became a thing again. Our stationery is designed to resurrect the hand-written word – to get you off your keyboard, out of your DMs and back into the good old-fashioned art of letter posting.

Our designs come courtesy of local artists on the island of Bali, Indonesia.

Unplug. Send your love. Write Away.

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We love the idea of reconnecting through something we can hold in our hands and put on a plane, ready to wing its way across islands and seas to find its new home on a cork board, fridge door, edge of a mirror, or carefully tucked away in a a journal.

Maya’s discovery of her talents with ink and paper and her special connection to Bali were the perfect way to kick off the project. In the future we hope to work with many more of the island’s artists to create their own Write Away collections.

Get to know: Paola Zancanaro, designer

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From the moment we saw the designs of Namu, we fell in love. We’ve been even happier to form a friendship over the years with the woman behind the brand. Paola has worked with prestigious designers, including Miuccia Prada, Giorgio Armani, and Vivienne Westwood, and has traveled to far-flung regions to create events, exhibitions, and installations. Paola is an advocate of fair trade and slow fashion and is passionate about all crafts and to maintain alive age-old artisanal techniques.

Where do you come from?

I come from a charming town called Alassio in the northern part of Italy. Alassio is located between Cinque Terre and the south of France and has a beautiful white sandy beach and lush green hills.

What makes you do what you do?

Curiosity, never wanting to stop learning and a real passion for the crafts and everything that is handmade and heritage.

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How does Bali influence your designs?

The lush green of the rice fields and the different hues of flowers and leaves are a constant inspiration for my work. Bali’s culture and its skilled artisans will never stop influencing what I do and what I enjoy dedicating my time on.

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When was the first time you ever touched fabric? And what excites you about your work at the moment?

I was surrounded by fabrics since my early childhood as my grandmother had an atelier and my mother had stunning dresses made by my “nonna” from jacquard to exotics silks and beautiful crepes encrusted with bejeweled embellishments. Since the lockdown, I have dedicated my time to learn more about natural dyeing techniques and which barks and leaves are available in Indonesia. I am trying to upcycle my collection by re-using leftover fabrics and create garments that are fun to wear both at home and out.

What are your favorite patterns and influences? Where are they from?

The Art Deco period will always be the main influence for my work - I love everything of that period from the ladies hair cut to the gorgeous jewels that the Indian Maharaja used to ask jewellery houses like Cartier to customise from themselves.

How do you measure your progress in life and work?

Good question! I measure my progress both in life and work by being serene and content with myself and securing that my team is happy and learning from what we build together.

Who were you as a kid?

Naughty! Never stop talking and asking why, why and why…I guess I am still a kid ;-)

What is your favorite event?

Difficult questions. As in my life I have been fortunate to organise many beautiful events across the globe for some of the most prestigious fashion houses but my favorite ever it has to be Holi Saloni in Udaipur in 2018, where we celebrated the Indian festival of colors.

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Imagine you are there, what are your three favorite things about that event?

The explosion of color on Holi Day, the Indian craftsmanship to build Ad Hoc mud houses and intricate decorations and stunning venue Devigargh Palace.

The sound of boxes

Music at events is a huge part of the attendee experience- live music especially just takes the moment to another level.

With the Elami Boxes we wanted to make sure the experience was amazing from the first minute you see the box being delivered, to every layer you unearth and every piece you unwrap. So of course we decided to create a Spotify playlist for every box!

Curated by Dayu Ajeng, each playlist is guaranteed to bring you something new.

Listen here: Elami’s Spotify

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Get to know: Summa Durie, Curator and Artist

We caught up with our dear friend Summa Durie recently to ask her what’s new in 2020, what she thinks about everything that’s happening in the event space, and to tell us what’s going on in her world of art, events, curation and more.

Photo by Roberto Aria Putra. of Summa durie with Roa

Photo by Roberto Aria Putra. of Summa durie with Roa

What was your favourite moment today?

We recently moved back up to Ubud to what I can only describe as a little smurf village. Our balcony looks out over a jungle garden and rice fields—a view normally saturated in greens, sky blues & pops of tropical colours. Today started with a rainy, misty morning but suddenly through all the greys and blues the most brilliant, eery orange appeared on the horizon as the sun tried to peek through. I am kind of obsessed with colours at the moment so this stuck with me.

Tell us about the projects you are working on…

And which one has your heart right now? I am the International Curator for an art space here in Bali called Rumah Sanur - Creative Hub. In 'normal' times this is a bustling place that hosts art, live music, festivals, markets—last year alone we welcomed 32,000 people through our doors, held 450 events/concerts/art exhibitions, and held workshops for over 6,000 participants. I am also the Co-Curator of TEDxUbud (working with the awesome folks at Elami & Co) and a freelance curator. In the crazy times we are living through right now a lot of this curatorial work has come to a standstill as gathering people has become slightly tricky. So this has become a time of reflection and resilience—looking at how models can change and how art and artists can still connect in different ways. With that in mind, we've been cooking up some new projects which are still in the very early stages. Without saying too much at this point one of them involves some of my favourite things—art, monsters, myth & history—so I am very excited to see how it unfolds.

Photo by Neyna Rahamdani for TEDxUBUD

Photo by Neyna Rahamdani for TEDxUBUD

What are you (un)secretly good at?

I originally trained as a theatre designer but realised I'd never learnt how to paint. So a couple of years ago I found some classes to learn the basics and mucked around now and then. But it has only been since this lockdown that I have established a regular practice and have felt myself developing as a painter. I have been working on a series of studies to explore different styles and colours—it been wonderful seeing what works and what doesn't. If you want to have at my look at my experiments see my IG @summa_. It has also been a great time for exploring other artists’ work and making connections online. I have found a lot of forums for artists gathering together and learning from each other which has been brilliant. A special shout out to Nicolás Uribe (@nicolasuribe) for his insanely brilliant art and daily videos. At the moment I'm totally fangirling over the works of Colleen Barry (@colleenbarryart). If I ever get a chance to attend a workshop with either of these artists I'll be one happy woman!

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How did you start curating?

I started curating in non-traditional spaces—clubs, bars, restaurants—in my early 20s. My focus back then was on emerging and street artists*, and I'll always be grateful to the people who allowed me to take over their spaces. I believe art can and should exist outside white cubes, that art should be where people are. But alternative spaces don't work for all art forms, so these early exhibitions led to me curate exhibitions for major festivals and in more traditional gallery spaces over time. My curatorial work in the visual arts morphed into programming music, performing arts and even a writers festival—I programmed the Ubud Writers & Readers Festival programs 2013-15, which is how I landed in Bali. What I am most excited by is the intersection between different art forms and how when they come together they can create little moments of magic.

*Side note: after working with street artists in Australia, a dream came true here in Bali when Belgium street artist ROA came to Rumah Sanur and did a piece on our walls. I had stalked ROA's work all over Europe so I’m still pinching myself one of his works is on our walls.

How do you curate?

Curating is all about connections, most importantly the connection with artists—it is still the thing I adore most about it, working with and watching artists grow.

Curators need to have an understanding and respect for artists—their background, art form and the stories they are telling. If an artist in return trusts the curator's vision for their work and the exhibition, good things can happen.

Curating groups show can also be about understanding how different artists' can work together, how to create a cohesive exhibition that doesn't feel disjointed visually or thematically. Again, this comes back to understanding an artist's style and voice. But curating is also about connections to communities, spaces, festivals, buyers, sponsors, funding agencies, media, and arts writers. A lot goes into making an exhibition successful, far more than simply hanging works on walls. A good curator knows how to make all these connections work or can bring in the right people to make them happen.

Photo by Suki Zoe, Gelombang by Made griyawan Exhibition for john Hardy Jewelry

Photo by Suki Zoe, Gelombang by Made griyawan Exhibition for john Hardy Jewelry

Do you have some tips for upcoming curators?

I am stealing some advice a mentor once passed onto me, but I think it is still relevant for all curators and they are the three Rs.

Relationships – know the artists, art spaces, and galleries you want to work with and develop those relationships. Go to artist studios, attend art exhibitions and artists talks. Remember relationships take time, but if you show up they will happen.

Research – a curator must always be researching—new artists, new works, and ways of presenting contemporary ideas that will resonate with an audience. But equally important is knowing your art history—limitless resources exist online so there is no excuse not to do your research.

Relentless – the final ‘R’. Curators must be relentless. Being a curator is not a 9-5 job, it’s a way of being—constantly searching, piecing art, and works together.

To be a good curator you have to be part-composer, part-mad scientist and above all be a relentless collector of people, ideas and things.

How does the curation process happen in the COVID-19 era?

This is a big question that I think everyone is still trying to work out. There is no issue in creating connections and ideas for exhibitions at the moment. We are all connecting via Zoom, IG Live, or whatever platform you like to use. I think the big question comes in the delivery of these ideas. Online exhibitions and digitally generated walkthroughs can go so far, but there is nothing like seeing the artwork in real life. For me something is still lost in the digital realm—I love to walk around sculptures and get up close to paintings to see the texture. Also missing from online is the other people. Art is about an individual's experience in the artwork, but it is also about a collective experience—when people gather in RL to appreciate art.

Where do you see it all going? Meaning, the future of events in the time of a pandemic…

Again I don't think anyone quite knows the answer to this as none of us knows how long this pandemic will go on for. But for the time being, I think we'll see more experiments with online viewings or exhibitions and events with restricted numbers. For galleries, this is not such a hard thing, but for a lot of other art forms like music and performing arts it is hard to create sustainable events with only a fraction of the ticket-buying audience. I think we are all hoping there is a magic bullet that will solve this crisis but no one knows if and when this will happen. What I do know is that humans are creative and resilient beings and whatever happens I am sure we will continue to make art and share it, although I can't wait for the day we can all do that together again.

Thank you, Summa!

Designing for COVID-19 education in Bali

It’s been really interesting to watch the huge amount of posters, billboards, signs, and graphics pop up in the wake of COVID 19. From simple commands, to Mr Bean cameos, to mask education, and stern threats. The graphics, and different styles have been flooding our eyes and brains for the last 5 months.

So many questions about who the posters are for, who decides what gets printed, font choice, and more… Definitely makes us think about effective design and messaging, and how communication actually works on a human level vs how government/bureaucracy thinks it happens.

Here are a few of our favorites. Special thanks to Suki Zoe for collecting most of the pictures on her travels.

1. Wear a mask 2. Don’t panic 3. Exercise

1. Wear a mask 2. Don’t panic 3. Exercise

Petulu village really has the best messaging we’ve seen. Positive and to the point.

Petulu village really has the best messaging we’ve seen. Positive and to the point.

Other terms also apply…. that’s a lot of logos and text, Ubud. Points for being bilingual!

Other terms also apply…. that’s a lot of logos and text, Ubud. Points for being bilingual!

Balinese speakers only. At the Ubud wantilan.

Balinese speakers only. At the Ubud wantilan.

All the official stuff.

All the official stuff.

Lots of points being made here.

Lots of points being made here.

Go Kopernik and Alam Santi for a clear message on masks.

Go Kopernik and Alam Santi for a clear message on masks.

Another one from Petulu

Another one from Petulu

Balinese language and Mr Bean- amazing.

Balinese language and Mr Bean- amazing.

Targeting office workers?

Targeting office workers?

Red is definitely eye catching against Bali’s green.

Red is definitely eye catching against Bali’s green.

Health and safety - two in one

Health and safety - two in one

How to wash hands- popular in the first month. Replaced by masks now

How to wash hands- popular in the first month. Replaced by masks now

Bali Snakes and Ladders! The launch of a new game

We've wanted to create a game for years and thanks to this pandemic downtime, we've finally done it! Maya Kerthyasa lent us her amazing line drawing skills to create a board filled with Balinese myths... Snakes and Ladders, known as Ular Tangga in Bahasa Indonesia, has its origins in second century India.

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“This version of Snakes and Ladders is inspired by Balinese life and mythology. At the bottom, we have Bedawang Nala—the turtle that carries the world—accompanied by the two dragons Basuki and Anantaboga. Spiritual nirvana is represented by Mount Agung and the heavenly realm above. The other illustrations are symbols of fertility, creation, enlightenment, abundance, death, disease, disaster and knowledge. Many of these symbolic drawings are inspired by life in and around the Balinese kitchen.”

—Maya Kerthyasa

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More about the history of the game:

The game was popular in ancient India by the name Moksha Patam. It was also associated with traditional Hindu philosophy contrasting karma and kama, or destiny and desire. It emphasized destiny, as opposed to games such as pachisi, which focused on life as a mixture of skill (free will) and luck. The underlying ideals of the game inspired a version introduced in Victorian England in 1892. The game has also been interpreted and used as a tool for teaching the effects of good deeds versus bad. The board was covered with symbolic images, the top featuring gods, angels, and majestic beings, while the rest of the board was covered with pictures of animals, flowers and people. The ladders represented virtues such as generosity, faith, and humility, while the snakes represented vices such as lust, anger, murder, and theft. The morality lesson of the game was that a person can attain salvation (Moksha) through doing good, whereas by doing evil one will be reborn as lower forms of life. The number of ladders was less than the number of snakes as a reminder that a path of good is much more difficult to tread than a path of sins. Presumably, reaching the last square (number 100) represented the attainment of Moksha (spiritual liberation).

-Wikipedia

The specs:

» 50cmx50cm fabric board—screen printed on 100% cotton

» 2 wooden dice

» 4 stone tokens

Shipped in a handmade paper box.

The Elami Box story

With our new world molded by Covid 19, we’ve had to come to terms with the fact that our whole reason for being (a.k.a bringing people together for events) is no longer possible while this virus runs amok.

We really missed having that connection with people and watching their faces light up at learning new things, or trying something different for the first time. So we decided to send a new experience to our people: the Elami Box!

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Welcome to Elami's new monthly Subscription Boxes. Order every month, or just once. For you, or as a gift. We have carefully curated a little surprise to brighten your day, something to look forward to. Maybe you'll like it so much that you'll get it the next month. We have selected unique products from the best Indonesia makers. We want them to keep creating the incredible things they are known for—and introduce you to people and brands you may not know. Give it a try.

We were lucky enough to have one of our favorite photographers Neyna Rahmadani come and document packing day for our latest edition. Please enjoy moments of wrapping and packing below.

Blindsided with Room4Dessert

For the first time in 70 plus days, the four of us came together in one room to create a little experience for Room4Dessert's Blindsided dinner guests.

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”Together but apart. The menu is meant to be a surprise and won’t be too complicated—you will have to boil some water and slice some things. We will leave a little space for your magic touch. At least for the dessert portion, where we will invite you to plate one of our signature desserts.”
—Chef Will Goldfarb

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Inspired by the pass the parcel game, we created an interactive experience where guests got a wrapped gift that had a connection to the course they were about to enjoy. All the products came from Room4Dessert's new range of Pasar products, including sourdough panko, lemon kosho, a tisane, and seeds.

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Individually wrapped and hand-lettered parcels with the names of the corresponding courses.

For some beautiful shots of the plated food created by one guest, head to over to R4D's instagram. You can also add the playlist for the night to your Spotify account. It was lovely to be back in the realm of creativity and events, even if it was ‘new normal‘.