Mythos Catalogue

Chapter 13: mythos

A Catalogue for ‘Mythos’ a Pop-up Exhibition

Featuring Naomi Samara, I Made Ananda Krisna, Kei Kusuma, Agung

Pramana, Nugi Ketut, Putu Surya

Dharma Putra, Wahyu Suntoon & Rama Indirawan

26 August 2023 - 16 November 2023 at Titik Dua Ubud

Curated by Cakravala

Text by Adella Bahar

Photography by Cakravala

Published by Cakravala

Catalogue Design by Brina Paska

Digital Catalogue

table of contents

6 Contact Information

7 About Cakravala

9 Curatorial Brief

10 Artist: Naomi Samara

22 Artist: I Made Ananda Krisna

28 Artist: Kei Kusuma

40 Artist: Agung Pramana

46 Artist: Nugi Ketut

50 Artist: Putu Surya Dharma

62 Artist: Wahyu Suntoon

68 Artist: Rama Indirawan

74 Artwork Price List

96 Terms and Conditions

about cakravala

Cakravala is a digital platform showcasing the works of new and emerging artists. Holding solo and group exhibitions, the platform highlights Indonesia’s diverse art and culture scene by representing it through a contemporary narrative. The platform highlights Indonesia’s diverse art and culture scene by representing it through a contemporary narrative.

​No different than a physical gallery, we aim to traverse the offline to an enriching online experience with a means to nurture the connection between you and our artists, without being restricted by the absence of physical space.

defining cakravala

Cakravala is derived from the Indonesian word ‘Cakrawala’ which translates to ‘the horizon’. The horizon is defined as the line where the surface of the earth and the sky appear to meet - a sight of a line that divides two substances. Cakravala teaches the notion of looking at things from more than a one-dimensional perspective and raising curiosity toward other worlds. Cakravala is the horizon through which people can access and experience a heterogeneity space, making art accessible for younger generations and beyond.

curatorial brief

Storytelling plays a vital role in Indonesian culture. Originating as an oral tradition, storytellers narrated folktales and mythological figures which were then passed down through generations. From Keong Emas to Malin Kundang, each myth exists to unveil hidden histories and shed light on a collective memory — shaping the identity of our islands and informs us about our political ambitions.

Soaked in mist and magic, ‘MYTHOS’ is an exhibition that presents a new illustrated mythology of Indonesia. Anchoring the showcase is a satirical quote by Rama Indirawan, positioned to question the expense of seeking an in-depth understanding of one’s own culture. Presented with a touch of irony, the quote playfully highlights the idea that gaining insight into our cultural heritage often comes at a high cost.

Can we put a price to the understanding of our identity, history and the broader human experience?

Brought to life through the works of emerging artists, they delve into our past through language and literature, encouraging us to reflect on the value of cultural knowledge and the wisdom it carries.

naomi samara

Foreward:

Functional Wings is a story I wrote this year after creating some journal sketches depicting a cockatoo and a moth/ butterfly. The story organically formed within the timespan of several months, with minor changes and additions. I write from the same impulse that makes me paint. I’ve always loved fairytales and I think expressing through stories helps me process real lived experiences. The act of creating anagrams and paintings from them after is an attempt to find the core feeling.

Functional Wings by Naomi Samara

functional wings

Once upon a time, a moth lived in an old forest on the tallest tree.

Emerging from its chrysalis, which hung on the highest branch, it could observe the entire world. One morning, fate crossed its path with a cockatoo.

As moments passed, they realised that time worked differently for them. The bird knew his forefathers lived for decades, while the moth only had several days.

They asked for guidance from the three witches who lived beneath their tree. The witches devised a solution; an old spell that would allow the moth a fifth and final stage of transformation.

The spell required:

2 Cloves of Garlic

10 drops of crocodile tears

13 singing crickets

8 hours of uninterrupted sleep 1 left wing of a moth

The potion simmered, and clouds of smoke gathered. The moth, with its one right wing, dispersed into thousands of flying seedlings.

Seeds settled across the lands and sprouted into large, beautiful trees. The cockatoo spent its life flying from tree to tree, serenading the whole forest.

Tale by Naomi Samara

I Once Fell In Love With You, Just Because The Sky Turned From Grey Into Blue (The Search Party and A House on The Hill)

by Naomi Samara

the search party

Full feel form

Look.

The Without Ache

Can smell presence.

Distant air leaves vanishing footprints. In a castle, The stranger sleeps.

Poem by Naomi Samara

Masuk Angin is Real by Naomi Samara

masuk angin is real

Please leave.

Before the when turns Stubborn and blue.

Enough space hurts the skin, Like unwanted company. Demanding spoon red heart, Tell It to need less.

Poem by Naomi Samara

Congratulations, Its An It (13 Fingers, 13 Toes) by Naomi Samara

Portrait With Dog by Naomi Samara

about naomi

Born and raised in Bali, Naomi Samara is a Javanese descendant whose innate ability to transcribe emotions through art is geared by her strong sense of curiosity and the means to explore various mediums. Working across painting, drawing, poetry and jewellery, the process of creating art or her is highly intuitive. Though she continues to explore different mediums, Naomi has always used her own body as a tool and starting point to translate internal dialogues. She is fascinated by the female body in all its beauty and potentiality, drawing on themes of power and control;

heritage and identity; as well as our state of being and transformation. These concepts are intimately entwined with mythological figures, manifesting through the embodiment of the female form. As an artist, she seeks to become the final ‘messenger’, continually acquiring tools and knowledge to convey ides and stories already existing within space and time. Naomi gravitates toward the approach of experiencing art as a multifaceted narrative, demonstrated through her various mediums and modes of expression.

i made ananda krisna

about nanda

I Made Ananda Krisna (b.2008), otherwise known as Nanda, is a young artist from Sanggar Bares, a creative studio nestled in Ubud led by Nyoman Bratayasa that focuses on teaching children to nurture their artistic talents from a young age. Fuelled by his passion for storytelling and reverence for his cultural heritage, he channels his youthful perspective to breathe new life into traditional Indonesian folktales.

Wayang Series by I Made Ananda Krisna

wayang series

Originating from the term “ma Hyang”, which conveys a journey towards the realm of spirituality or translates to “shadow” in Javanese culture, Wayang’s origins date back to approximately 1500 BC — predating to the diffusion of foreign cultural and religious influences within Indonesia. This period coincided with a time when the Indonesian population adhered to animistic and dynamic belief systems, where beliefs centered around the notion that the spirit of a deceased remained alive and that each object possessed a soul with inherent powers.

This spiritual ethos found tangible expression in the form of crafted drawings and objects, including sculptures and puppets, aiming to capture the essence of departed beings known as “yang” or “dahyang”. Initially used for purposes of entertainment, education and spiritual rituals, the earliest

traces of Wayang can be found in ancient Javanese and Balinese cultures. Overtime, Wayang underwent many transformations as stories were adapted and localised to fit the cultural and geographical context of our islands. From Hindu-Buddhist to Islamic influences, the history of Indonesian Wayang is complex and deeply connected with the cultural, religious, and social developments of the region. It is a testament to the resilience of traditional arts in the face of changing times and influences.

I Made Ananda Krisna (b. 2008) presents his ‘Wayang Series’ as a playful depiction of various characters drawn from Indonesian folktales. Created in Sanggar Bares, each Wayang offers a contemporary interpretation, representing an exploration of traditional stories from his unique personal perspective.

Wayang Series by I Made Ananda Krisna

kei kusuma

Telltale Rumor by Kei Kusuma

Moonlight Theatre by Kei Kusuma

moonlight theatre

Time is the most profound gift an individual can bestow upon others, from the moment of our birth until the time we depart from this world. A diorama unfolds, portraying an eternal dance of joy, fear, anger, disgust, and sadness that remains in constant motion.

This dance shall persist indefinitely, as if an unending performance, until the sky darkens and the sun ceases to rise. Within the theatre of moonlight, this spectacle endures for those who have departed from the realm of the living.

The Bull and the Empress by Kei Kusuma

the bull and the empress

The bull as a symbol of strength, fertility, and sacral significance. A nurturer to everything that resides around them.

Forest of Butterflies by Kei Kusuma

forest of butterflies

The butterfly as a symbol of resurrection, hope, and new beginnings. It yearns for freedom, and in the forest it finds.

A forest filled with butterflies serves as a symbol of the world we inhabit, encompassing a multitude of captivating elements to cherish. The female figure personifies the viewer in its entirety, akin to venturing into a profound forest, wandering and becoming entranced within its serene tranquility and inherent uncertainty. This allegory aptly mirrors the journey of life—a gentle reminder that life’s beauty persists despite the challenges it presents.

Midnight Zoo by Kei Kusuma

midnight zoo

In a dense forest, animals and curious onlookers surround her In a dense forest, she uncovers layers of dilemmas and troubles, Yet amidst it all, her innate purity remains

Combusting Meltdown by Kei Kusuma

about kei

Kei Kusuma (b.1990) is a Jakarta-based artist who started drawing from an early age. His works primarily revolve around symbolically depicting beauty and the intricacies of life, as he seamlessly merges conventional and contemporary styles to portray the uncontrollable forces that shape who are.

Transcending mere technicalities, the artist’s creations are guided by a fusion of emotions, evident in the way his illustrations unfold from a single point and continue to bloom. Emotions like love, fear, hate, sorrow, joy, and guilt — whether experienced individually or as a collective whole — are regarded as the primal language shared by all living beings, a language he converges within his artistic medium.

agung pramana

about agung

Agung Pramana (b. 1998) is a Balinese artist who began his practice in the art of printmaking. Venturing into the realm of graphic design, his works showcase a distinctive interplay of image distortion and the utilisation of halftone dot finishing, resulting in a harmonious composition of objects.

Being born amidst the development of urban society has driven Agung to use his work as a medium to understand Bali and reconnect with its cultural roots. By observing the objects that surround him, he often produces a visual representation of Balinese and archipelagic culture in the form of sculptures, architecture, carvings and essays. Through his work, the artist reinforces the spirit of his culture, aiming to preserve the cultural patterns that have persisted for generations. These patterns are presented through an experimental pop of visual artworks designed to communicate with contemporary audiences.

Unknown Portrait I by Agung Pramana

unknown portrait series

Bali, an enclave of limitless diversity threaded with both nature’s wealth and cultural opulence, stands as a testament to the profound richness of human expression. The gleaming facets of Balinese society lie in the reservoir of cultural treasures possessed through their belief in various manifestations of mythological beings. These enigmatic figures, entwined within the very fabric of Bali, reveal themselves in multiple forms – whether in the design of statues, the soaring crescendos of rooftop summits, or the intricate symbols in ceremonial tools.

These designs are crafted to convey creative patterns that go beyond mere academic texts. The orchestration of such creations stand as a culmination of the virtuosity of undagi, the former artisans who used minimal references yet harnessed their boundless ingenuity to give shape to these ethereal beings. Their creations, evocative of the mythical personas they portray, are embodied testimonies to the prowess of Balinese craftsmanship, channeling innate wisdom into tangible forms.

Unknown Portrait II by Agung Pramana

This notion becomes even more intriguing when discussing mythological beings. A singular visual representation emerges: a form stripped off its head – an image captured within the vicinity of Denpasar. This work serves as a wellspring for the imaginative space, transcending the conventional bounds of mythic interpretation. Within this vision, Agung Pramana (b.1998) breathes life into a novel series of mythic beings and pays homage to the creative ethos of Balinese craftsmanship.

In the seamless interplay between past and present, the artist embarks upon a journey to uncover the enigmatic aura of Bali’s mythos.

nugi ketut

about nugi

Nugi Ketut is a multidisciplinary artist from Bali. Having concluded his formal education at the Indonesian Institute of the Arts Yogyakarta in 2019, Nugi dedicates himself to safeguarding age-old cultural values. His commitment involves delving into the very origins of these legacies as he documents and gathers the remnants of traditional artistic creations. His exploration and experimentation encompass not only the tangible visual forms, but also the profound philosophical underpinnings that his ancestors have left behind.

Responsibility of Form by Nugi Ketut

responsibility of form

The installation titled ‘Responsibility of Form’ serves as the tangible expression of Nugi Ketut’s (b.1995) deep-seated reverence for the Sedulur Papat concept, known as Kanda Pat in the Balinese context. This concept holds significant importance within Balinese society, proposing that with each human birth, four distinct entities emerge as lifelong companions referred to as our siblings. The essence of Kanda Pat comprises of getih (blood), lamas (skin fat/umbilical cord), yeh nyom (amniotic fluid), and ari-ari (placenta). These four intrinsic elements which are present since conception shapes and supports the secure arrival of the human existence into the world.

Nugi attempts to convey this by assembling various found objects and materials that have been separated from their primary functions. Modifying them to embody the concept, this artwork consists of a singular saka (wooden support pillar) complete with

its joint (pillar base) made from cement, and a raab (roof) crafted from bamboo.

On the body of the saka, four traditional-style tapel (masks) are attached, each embellished with hues symbolising the notion of Pengider Bhuana. This artistic representation personifies the essence of the earlier mentioned Kanda Pat, supported by an illuminated screen that showcases images adorned with verses extracted from the Kanda Pat Lontar script. These arrangement of elements is intricately linked to Nugi’s interpretation of the Kanda Pat narrative in which he perceives as “ambivalent.” To him, the fusion of organic and industrial materials parallels the interplay between space and time (Kala Patra); and within this dynamic realm, humans live and exist. Further symbolised through the transformative bamboo roof in his creation, colour evolves over time and harmoniously unites with kala — the embodiment of time itself.

putu surya dharma putra

harpy lazuli

Encapsulated within this artwork is Putu Surya Darma Putra’s (b.1993) perception of Mythos as a repository that engages historical narratives interlaced with moments of melancholy and poignancy. In the realm of artistic expression, ‘Harpy Lazuli’ emerges as a synthesis of elements from fairy tales, folkloric narratives, and mythologies spanning diverse global origins. This work embodies the striking parallels that exist between the foundational tenets of Indonesian mythology and those originating from external cultural contexts. Infused with a

contemporary twist of pop art, ‘Harpy Lazuli’ vividly captures the visage of a winged woman—drawn from the annals of Greco-Roman classical mythology—symbolic of an ancestral hybrid existence that seamlessly integrates bird-like and human attributes. The indigenous narratives of Indonesia, notably within Bali, evoke a profound connection between humanity and the realm of fauna and hybrids, exemplified by the Enggang bird dance from Kalimantan and the Cendrawasih dance from Bali.

Harpy Lazuli by Putu Surya Dharma Putra

The painting further serves as an artistic representation of the age-old Balinese concept, where individuals grapple with affliction and seek retribution by engaging on a journey of spiritual exploration and self-discovery. A closer examination of this artwork reveal its belief in the ‘Leak’, a distinctive Balinese folkloric entity that embodies the astral metamorphosis of individuals into desired forms — a process deeply intertwined with their innermost psyche and spiritual essence. The masks and countenances depicted within the composition serve as a visual testament to the spectrum of human emotions, souls, and cognition. Within the narrative of a transcendent spiritual voyage, spanning diverse dimensions including ‘Tan-

tra,’ the frangipani flower emerges as a representative of ‘Yantra,’ while numerical and alphabetical symbols capture the essence of ‘Mantra.’ These visual records illustrate a mythological journey aimed at preserving historical narratives, memories, thought projections, and both physical and spiritual odysseys, so as not to be lost through the passage of time.

‘Harpy Lazuli’ signifies that the fundamental concepts of mythology are infused with both joy and sorrow, establishing connections between each other. However, disparities emerge due to the influences of their respective original socio-cultural contexts.

Topeng, Not a Subject by Putu Surya Dharma Putra

topeng, not a subject

Drawing inspiration from the concept of masks or replicated visages, “Not a Subject” is an articulation of identity within the realms of art, society, and culture. This manifestation diverges from the conventional alignment of subjects, disengaging from their anticipated roles, thereby forfeiting the interplay of synergy and intrinsic value embedded within its conception. This work assumes a stance of critical significance towards the current state of art, society, and culture—a condition where cultural subjects are relegated to superficial roles, lacking a profound grasp and resonance with the underlying narratives that it captures.

The work delves into the dichotomy of designating something as ‘sacred’ and embellishing it with artistic nuances, ultimately rendering the prevailing social and cultural dynamics susceptible to commercialisation. The essence of cultural art unfolds as an extended journey towards comprehension. It transcends the notion of mere subjects or commodified objects and becomes a testament to history, identity, and artistic interpretation.

Topeng, Non Object 2789 by Putu Surya Dharma Putra

topeng, non object 2789

Serving as a mask representing a replica face, ‘Non-Object’ is a piece that functions as a figurative expression, embodying the characteristics of sorrow and fragility within the identity of the modern human figure. This three-dimensional artwork showcases the emotional facets of humanity, depicting a character worn down by the consistent treatment as an “object.” The artwork seems to convey the paradoxes of external happiness often conflicting with an absence of internal joy. Accompanied by the code number 2789, which signifies the sentiment “I’m tired of life,” the colours blue and red are used to symbolise anger (Krodha) and disappointment.

Lekas Sukma by Putu Surya Dharma Putra

lekas sukma

‘Lekas Sukma’ is an embodiment of the harmonious reunification of the mind, body, and soul, each symbolising distinctive facets within the realm of human existence. The simplicity in its representation unfurls the narrative of individuals participating in “ngelekas” or “ngeleak”, which is a traditional Balinese Tantric pursuit that seeks to unearth inner contentment.

The composition unveils a transformative journey in the astral realm, where the soul is liberated from the physical body to gain mastery over inner desires. The artwork fosters contemplation of the dualistic nature of morality, as the trajectory toward embodying good or evil depends entirely on the individual’s cognitive and spiritual disposition.

about surya

Putu Surya Dharma Putra was born in Denpasar, Bali and is a contemporary, abstract and surrealist illustrator. His work expresses the chaotic yet alluring nature of our surroundings – communicating the invisible forces of our existence. His use of vibrant colours is a binary between modern and traditional art, often adopting elements of Balinese and Japanese visual aesthetics.

wahyu suntoon

about wahyu

Born in Cilacap, Wahyu Nurul Iman, otherwise known as Wahyu Suntoon (b.2000), is a Yogyakarta-based artist who pursued a major in Animation at the Indonesian Institute of the Arts Yogyakarta. His artistic narrative is threaded within the world of animated films, characterised by the adept use of experimental techniques that seamlessly weave Indonesian traditions into its central theme. Suntoon’s passion lies in crafting animations through distinctive methods such as shadow puppetry, stop motion, morphing, and rotoscoping.

Sintren Saves the Village by Wahyu Suntoon

sintren saves the village

One night, a performance called the Sintren dance took place. It was evident that the villagers did not appreciate the dance, and Asih, who had become a Sintren, felt disheartened as her audience ignored her. The narrative takes a turn when a destructive force, Buto, emerges from an old tree, causing havoc by spewing fire and burning the village. The residents’ attempts to expel Buto fail, leading to a dire situation until a ritual involving a Sintren dance and prayers summons Sulandono, a knight and Sintren’s lover, to eradicate Buto and restore the village’s well-being.

Suntoon presents this story through an animated short film which highlights themes of cultural practices, resilience, and the power of unity.

Begog by Wahyu Suntoon

rama indirawan

Minke by Rama Indirawan

minke & metanoia

Drawing inspiration from three distinct literary pieces — ‘Kakawin Suttasoma’, ‘Anak Semua Bangsa’, and ‘Aji Saka’ — Rama Indirawan (b.1990) creates a series of works that highlight themes of impermanence and the complexities of identity and colonialism. ‘Metaonia’ is composed of the Hanacaraka script, “Ma Ga Ba Ta Nga”, which can be interpreted as “everything will die”, whilst ‘Minke’ symbolises “Ha Na Ca Ra Ka”, and is understood as “there is a story”. Against a backdrop of modern-day memorabilia in the form of hand-written notes and tickets, ancient Javanese scripts are juxtaposed, conveying the meaning of ‘diverse’ or ‘various’. This resonates with the often necessary adaptation to change during times of transformation across cultures and eras.

For a close examination of the two small artworks, Rama invites us to ascend the stairs. This process creates an exposition that explores both distance and proximity, employing a particular method that harmonises with the viewer’s intent to engage in the viewing experience. The utilisation of stairs also correlates with a shift in perspective as a means to alter the way we perceive things, both in a literal and figurative manner. Infused with philosophical depth, ‘Minke’ and ‘Metanonia’ contemplates on the relationship between ancient wisdom and contemporary forcing us to reflect on change and the eternal echoes that resonate within us all.

Metanoia by Rama Indirawan

Anicca by Rama Indirawan

artwork price list

Functional Wings (2023)

Naomi Samara

Ink Pen on Paper

40.5 cm x 60 cm

IDR 6,000,000

I Once Fell In

Love With You, Just Because

The Sky Turned From Grey Into Blue (The Search Party and A House on The Hill) (2023)

Naomi Samara

Acrylic on Canvas

83 cm x 103 cm

IDR 16,000,000

Masuk Angin Is Real (2023)

Lithography Print on Paper 54 cm x 68.5 cm (with frame)

Edition 1/5

IDR 2,800,000

Naomi Samara

Lithography Print on Paper 54 cm x 68.5 cm (with frame)

Edition 1/5

IDR 2,800,000

Congratulations, Its An It (13 Fingers, 13 Toes) (2023)

Naomi Samara

Portrait With Dog (2023)

Naomi Samara

Lithography Print on Paper 54 cm x 68.5 cm (with frame)

Edition 1/5

IDR 2,800,000

Wayang Series (2023)

I Made Ananda Krisna

Mixed Media

Variable Size

Price Upon Request

Wayang Series (2023)

I Made Ananda Krisna

Mixed Media

Variable Size

Price Upon Request

Telltale Rumor (2023)

Kei Kusuma

Ink and Acrylic on Paper 51 x 43 cm (with frame)

IDR 9,000,000

Moonlight Theatre (2023)

Kei Kusuma

Ink and Acrylic on Paper 46 x 44 cm (with frame)

IDR 12,000,000

The Bull and the Empress (2023)

Kei Kusuma Ink and Acrylic on Paper 55 x 44 cm (with frame)

IDR 8,000,000

Midnight Zoo (2016)

Kei Kusuma Ink on Paper 65 x 50 cm (with frame)

IDR 8,800,000

Kei Kusuma

Ink on Paper

39 x 41,5 cm (with frame)

IDR 8,000,000

Combusting Meltdown (2017)

Unknown Portrait I (2023) Agung Pramana Screenprint on Fabriano Paper

IDR 6,000,000

Unknown Portrait II (2023) Agung Pramana

IDR 6,000,000

Harpy Lazuli (2023)

Putu Surya Dharma Putra

Mixed Media on Canvas

80 cm x 100 cm

IDR 12,000,000

Topeng,

Topeng, Non Object 2789 (2023)

Putu Surya Dharma Putra

Mixed Media on Canvas

30 cm x 30 cm

IDR 2,000,000

Minke (2023) Rama Indirawan

Paper: 15 cm x 10 cm, Marker and Typewriter on Paper Ladder: 150 cm x 100 cm, Ready-made Ladder in (Near) Klein Blue

IDR 4,500,000

Metanoia (2023)

Rama Indirawan

Paper: 15 cm x 10 cm, Marker and Typewriter on Paper

Ladder: 150 cm x 100 cm, Ready-made Ladder in (Near) Klein Blue

IDR 4,500,000

Rama Indirawan

Gesso, glue, acrylic, paper, receipts, and tickets on canvas

120 cm x 100 cm

IDR 8,500,000

Annica (2023)

terms and conditions

Shipping Policy

Your artwork(s) will be shipped to your address once we have confirmed your order and payment. Artwork(s) will be sent from various locations depending on where the artist is residing.

If you are located in Indonesia, your item will be delivered to you using JNE. Shipping cost is not included within the retail price. You will be able to choose your shipping service at check out.

If the main expedition has problems such as closing, there is a possibility that we will use another expedition. We will notify you of changes in shipping prices within 1x24 hours after changes to the expedition used

For international shipping, please contact mail@cakravala.com to make a direct purchase with us. We will choose the most suitable courier service for your country and assist you in completing the payment process.

If your payment is not received after 48 hours of purchase confirmation, your order will be cancelled.

For domestic and international orders, if you do not receive your order within 30 days after your payment and confirmation, Cakravala will refund your money in full.

The order will be deemed received if there is no confirmation of Artwork receipt within 7 (seven) days after the delivery service tracking system stating the Artwork has arrived at its delivery destination

In the event that the artist is unable to make immediate delivery for any reason, we will notify you as soon as possible. Refunds of payment will be made a maximum of 48 hours after notification of late delivery

Travel insurance cost is included in shipping cost.

Return Policy

Cakravala is dedicated to ensuring the satisfaction of our art collectors. So, once you have received your original artwork, you have seven (7) days to decide whether or not you would like to keep, return or refund any artwork you have purchased through us. Artwork prints are eligible for return 28 days after the date you received your order.

You may return any eligible artwork provided that it is returned to the artist in its original condition and packaging.

For detailed information on how to return either an original work, please read through our Refund and Return Policy.

Before reading the instructions provided below on how to return an original work, please carefully read our Original Artwork Return Policy:

1. Original Artwork Return Policy

Once you have received your original artwork, you have seven (7) days to decide whether or not you would like to keep, return or refund your item. We also require all returned artwork to be shipped out by the buyer within two (2) days after confirming with us that the work will be returned. *Do not ship the artwork before contacting us; please send a confirmation of your return/refund to us in advance!*

If you fail to notify us within 7 days after receiving your item or you do not ship the work within 2 days of notifying us, you will not be eligible for a refund.

2. Returning Original, Undamaged Works

a. Within seven (7) days of your merchandise delivery date, please email us on mail@cakravala.com and provide us with your order information and the reason for your request to return/refund. Please include the photo After the request for a return or refund is approved, you can repack the artwork.

b. Please repackage artwork using the original packaging materials used by the artist. If packaging has been disposed, you will be responsible in re-purchasing packaging materials to send the artwork back to the artist in a safe condition. We also do not cover the cost of sending the artwork back to the artist including but not limited to shipping insurance.

c. Send us an email on mail@cakravala.com when you have completed the return process. Please send documents such as shipping receipt, photo of repacking of artwork.

Once the artwork has safely reached the artist, we will process your return and your money will be refunded to your original source of payment in the same as your original order (minus shipping costs and international customs fees, if any) within 5-7 business days of your item return.

3. Important additional return information:

Additional shipping fees may apply for international returns.

4. What if my artwork arrives in a damaged condition?

a. Within seven (7) days of your merchandise delivery date, please email us on mail@cakravala.com and we will get back to you promptly.

b. Do not dispose of original packaging.

c. Document and take photos and videos of damaged artwork and packaging. Please email these photos to mail@cakravala.com

d. The Cakravala team will contact you to discuss the next steps.

Tax

Retail price of each artwork is inclusive of 5% local tax.