For over a decade, Mujahidin Nurrahman's work has addressed themes of violence, cultural, political, and economic stigma within religion-particularly Islam. That stigma, for him, began with the very first word of his given name: 'Mujahidin'. In the Western world especially-particularly in the aftermath of 9/11-the word has acquired extremely negative connotations, being associated with violence and terrorism linked to Islam. Yet, the name was a legacy from his father, meaning "a fighter guided by compassion." 'Mujahidin' signifies a warrior, one who strives, while 'Nurrahman' means the light of compassion. Clearly, this intended meaning stands in stark contrast to the Western stigma attached to the name.

This naming became a point of reflection for Mujahidin, prompting him to retrace the lineage of his Javanese great-grandfather on his father's side and his Sundanese great-grandmother on his mother's side. What kind of name would he have had in Javanese or Sundanese culture? His great-grandfather followed kejawen beliefs, admired songbirds, and venerated heirloom kris daggers. His great-grandmother on his mother's side was a wealthy rice field owner in her time. However, sacred knowledge about the kris or rice cultivation was not passed down, and it did not make Mujahidin either Javanese or Sundanese. Instead, his cultural environment became shaped by an urban Islamic identity, with little orientation toward pesantren (Islamic boarding school) traditions.

Mujahidin's installation in this space evokes an intimate dialogue between the artist and "the other self." His full name, 'Mujahidin Nurrahman', is rewritten in shining Pegon Arabic script, casting golden-yellow reflections in all directions. Geometric depictions of kris blades and rice plants appear and recede, depending on the visitor's proximity and their mirrored reflections within the piece. A large canvas depicts a desert landscape, a dystopian battleground that endlessly unfolds across the Middle East. A complex paper hand-cut silhouette of an AK-47 rifle-ornamented in arabesque-like patterns-slowly rotates on an axis, enhancing the dim, solemn atmosphere of the exhibition space.