Henryette Louise actively develops a practice which explores the common thread between materiality, history and the complexity of contemporary society. In the last five years, her works have taken the form of experimentation with non-conventional graphic printing techniques on gypsum. This artistic choice is based on the expansion of her material which raises the theme of identity and memories surrounding home. The intaglio technique arouses Louise's attention to the traces of ditches/thin faint lines on the plate, and aquatint printing towards the 'tainting' of ink. She interprets it as a performative effort to reveal what is hidden. Each stage of her unexpected transition is a migration. The artistic decision that Louise goes through is unanimous with the uncertainty she feels in crossing various social spaces.

Migration is something that resonates in Louise's work as opposed to a pictorial instrument. It is a metaphor for modernity that traces on the various paths of her own childhood. Her memory of the tracks of carts pulled by oxen, convoys of buffalo and horses carrying agricultural products from her hometown, Kademangan, Wonotirto, South Blitar to the city center. Along with the rapid pace of social, economic and political development, this route of gathering has never stopped experiencing the impacts of industrialization and modernization. In Louise's graphic installation work, these images are implied as desires, needs/wills and conflicts. Louise's drawings are not formed by hand, however prominent her skill is in the works. Her lines interact with the material, a metaphor for surrender in art. In Louise's vision, the material in graphic art has its own autonomous character and impossibility, giving birth to coincidences that have arresting potential.