Beyond The Wall, a memoir spanning the youth and adulthood of Suanjaya Kencut that framed by the sturdy walls of Natah (Bali village), leading to deep reflection, depicting Kencut’s life behind those walls, and exploring the memories and experiences that shaped him. In every corner and crevice of the Natah walls, his youth and adulthood stories radiate, presenting a rich visual and emotional portrayal full of meaning and nostalgia.

Beyond their physical boundaries, these walls witness the close relationships between Kencut, his friends, family, neighbors, and the natural surroundings of Bali. They are not just mere physical boundaries but also symbols of strong and inseparable bonds. Behind these walls, threads of brotherhood, friendship, and love intertwine. This series not only highlights Kencut’s journey but also showcases the beauty and depth of human relationships with the environment and community, inviting reflection on the true meaning of life beyond the solid walls.

Take a Line #1 (Go To Temple) and Take a Line #2 (Back to Temple) depict the hustle and bustle enveloping Balinese families as they flock to the Pura, the sacred temple that serves as the center of worship. Young Kencut, along with his family and friends, huddles into the gaps of the Pura walls, waiting their turn to enter and exit the temple. The Kori Agung gate is deliberately made small so that each worshiper must enter one by one, symbolically shedding worldly concerns before approaching Sang Hyang Widi Wasa.

Celebration is Coming (Waiting for Offering) visualizes the temple visitors eagerly and patiently waiting for the blessing of offerings, which must be done before the worship begins. Meanwhile, After Many Hours (Ready for Praying) depicts the worship process that commences after the offerings are blessed. Inside the Pura area, young Kencut and his companions sit among the temple walls near the Natah, whispering small jokes while waiting for the priest to consecrate the offerings for prayer. With half-hearted attention, humor, yet reverence, they await the worship ceremony on top of the temple walls.

Like Seeing a Monster (Ogoh-Ogoh Parade) is a depiction of Kencut’s and many Balinese residents’ experiences of seeing the annual Ogoh-Ogoh parade, with its frightening, monster-like effigies. The sounds of Balinese gamelan and the crowd burst from the boulevard of the Banjar, piercing through the Natah walls. Suddenly, young Kencut and his friends run to the walls, absorbing their fear of the deafening procession. The parade of giant effigies representing the evil Bhuta Kala signifies that the Tapa Brata Nyepi (Silence Meditation) ritual will soon begin. These giant, fearsome effigies seem like enormous monsters to little Kencut and his similarly small friends.

It’s a different situation when the sounds of the Balinese gamelan announce a Ngaben (funeral procession). Young Kencut and his friends will hide behind the safe walls, peeking and guessing which family member will be cremated that day. Didn’t Expect (I See Ngaben) is a manifestation of their speculation about who has left them for moksha through the cremation ceremony.

As Kencut approached adolescence, he and his friends explored new experiences. In the farthest corner of the hidden Natah walls, they secretly watched tajen cockfighting gambling, hoping their chosen rooster would win and that they wouldn’t get caught by the pecalang (village security). Anxious (Tajen Show) depicts the anxiety of teenage Kencut witnessing his first illegal cockfighting event. The bolder teenage Kencut now dares to watch his favorite dances that he previously didn’t dare to view. Scary Show (Calon Arang) conveys the experience of watching the terrifying dance that invokes the Leak, an evil spirit in Balinese mythology. With courage and half-trembling, Kencut watches the ritual of summoning the Leak during the Calon Arang dance at the Odalan festival from atop the temple walls. Supposedly, if the Calon Arang dancer does not perform perfectly, the dancer could die as a bearer of the Leak. Who wouldn’t be trembling to witness it?

This trembling fades when the Calon Arang performance is completed and the Rejang dance begins. Kencut and his friends push to the front of the walls to see the friendly faces of their female relatives performing the Rejang dance. The Rejang dance must be performed by young girls who have not yet reached puberty, such as Kencut’s younger sister and his friends. On a First Line (I See My Family Perform) captures the story of pride in seeing family members perform in dance or other performances within the Pura. Favorite Show (Balinese Dance) also expresses the inexpressible experience of watching beloved Balinese dance performances like the Rejang Dance, Renon Dance, Kecak Dance, and other dances presented during Balinese worship ceremonies.

Indeed, sometimes the Natah walls create a sense of confinement, lacking space for personal reflection, prompting Kencut to seek a less crowded corner of the wall to simply daydream, ponder, and lose himself in the essence of life. No More Space #1, No More Space #2 is a manifestation of the nihilism needed for the self-reflection process amid the crowded Natah walls. In this series, there are also 10 sketches in the Expression #1-10 series, revealing Kencut’s expressions in each of the painting’s stories

Beyond The Wall, with Suanjaya Kencut’s visual memoir framed by the sturdy Natah walls, is a journey inviting us to delve into the profound memories and experiences of his life in Bali. From the hustle and bustle of worship at the Pura to the serenity of self-reflection, this story highlights how these walls are not merely physical boundaries but silent witnesses to the deep bonds of kinship, friendship, and love that weave through them. It is a memoir that invites contemplation on the hidden meanings of life behind these walls, revealing that physical boundaries often harbor a world of untold stories and immeasurable emotions, uncovering the true essence of existence and the depth of the human soul.