This multimedia installation reflects the practice of blacksmiths-a motif that involves not only physical strength, but also dedication and deep understanding of the materials and distinctive craftsmanship process. The tradition of blacksmithing-here reminding ourselves of the keris-and craftsmanship in the archipelago in general continues to fade with the pace of modernization calling for faster and easier production of tools. In the past, the job of blacksmiths was considered noble, they were respected as masters. In Jodog village, Gilangharjo, Bantul District, Yogyakarta, for example - the blacksmiths' work environment centre observed by Surya Adiwijaya - only a handful of masters remain out of the dozens of names that once excelled. The initials of the masters are usually written on the tools they create. The identity imbued in this work is a reminder of the long tradition of mastery. Surya Adiwijaya himself is part of the blacksmith lineage, as the grandson of a master.

A black platform filled with charcoal, leftovers from the work of the blacksmiths, marks the presence of a perapen (furnace or hearth). However, the hearth is not limited to only that meaning. In the blacksmiths' environment or lineage, the perapen is also a place of worship, because for them the practice of memande (blacksmithing) also has ritual meaning. On top of the perapen are various metal materials such as hoe blades, hammers, sickles, machetes, and others. The glowing but faint LED embers on top of the perapen illustrate that this tradition has not faded away even though it is increasingly marginalized. The repeated and insistent sound of iron clashing creates a sensory experience and a meditative effect. It is estimated that by 2030 the blacksmithing tradition in the archipelago will be completely extinct.