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My key intention in this batik motif is to represent the attributes and behavioural patterns of the millennial generation, referring those who born in the late 21st century. As we all know, the millennials are also famously known as the “Me me” generation. This is because of their self-centred personality due to the rise of individualism in the society. They have been described as narcissists, indulgence in extrinsic values such as personal image, fame and materialistic life. They are also politically and civically disengaged compared to Generation X, Z and other generations as well. However, they also have a fair sum of positive attributes too, such as they are more open-minded, thus, more supportive of equal rights for minorities and more liberal in their ways. They don’t like to be chained to the old ways of doing and seek to explore alternatives and highly receptive to new changes. That’s what makes them so self-expressive at the same time. Their strong desire for self-expression also changes the way of how they appreciate art, they tend to be avant-garde and less clingy to the current trend.

This is why I adopted neo-expressionism concept which blooms during the postmodernism period in my batik motif. It exists just at the right time when the millennials were born. Its radical patterns and style, with extreme contrast of dynamics, imbue with an evolving yet unstable feeling to the art. Sharp & edgy shapes and lines contrast with the organic and flowing shapes at the corners tells their differences with the long forgotten old generations. It’s innovative and born with its own crude style, a perfect match with their attributes. My motif also portrays the dwindling appreciation of traditional artform and narrates about millennials starting to be rebellious, seeking more freedom, being more open-minded. Leaving traces of the past and being the pioneer of new change in the evolving generation.

First, I imitate the traditional geringsing pattern, having strong sense of centralisation with a 4-point star pattern on the centre, widely opened with grandeur to accentuate self-centred attribute. Rhythmic patterns dancing around the core gives its ever-changing and constant evolving behaviour, radiating outwardly, creating a sense of expansion and openness. A unentangled segment between the centre and its corners creates a void which emphasizes the separation and distinction from the previous generation which is illustrated as a series of distorted traditional batik motifs, featuring a mix of kawung, ceplok, lereng and truntum motifs. Those much more organic and diminished motifs are arranged in such a way that they create a contrast in dynamics with those arranged near the centre. Both opposing dynamics give its sense of disengagement from community and neglection of intrinsic values, therefore being unstable in their well-being. Distortion in traditional patterns leaving traces of the past in which tells the millennials abandon them, seeking for new form. The rough and sketchy texture occurring near the centre featuring the rough-handling of art in neo-expressionism. In conclusion, the motif calls for rejuvenation of intrinsic arts and values whilst encouraging an open sight for new art in this modern era. A fusion of traditional and postmodernist motifs and art style represents both domestic and global artistic values.