Wayang kulit is the shadow-puppet theatre of Java and Bali: translucent figures chiseled from water-buffalo hide, painted with water-based pigment and finished in burnished gold leaf, performed against the dark night of the kelir screen lit by the flickering blencong oil lamp. Every silhouette is a lacework of perforated openwork — the tatahan chiseling that lets lamplight pierce the hide.

This system carries that language into the screen: gold and ochre reading out of a warm near-black ground, elongated profile forms, fine filigree edges, and the soft cast-shadow glow of an oil flame. Nothing is white; the ground is the night, and light is a precious thing earned in gold.