Marriage is a commitment in the smallest institution in society. After the excitement of a wedding or a romantic honeymoon, marriage contains social roles and responsibilities as well as efforts to build social capital. That is the second tension contained in Ummi's paintings. The excitement of “Dance in The Living Room” and “Good Neighbor” is a representation of the various social responsibilities that a married couple must face. Marriage is not just about joining two heads, but also two families into one. This means that different cultures and backgrounds will be challenges that must be faced continuously. Different family cultures will give birth to different demands and different expectations in the family. It is this expectation that demands pursuit from both sides.

Ummi is creating her work in the midst of efforts to fulfill these expectations. She works in a position as a woman who is physically struggling independently because the conditions require that she and her husband undergo long-distance marriages. Ummi put all her emotions in "Dance in The Living Room". I noticed that there are several panels separated by lines in this painting. His artistic decision reminds me of Henri Matisse's work of shaping the spaces in his phenomenal painting, “Harmony in Red”. Ummi divides and creates space in the panels, this is what distinguishes the two. The uniqueness of this space creation in two-dimensional media offers a different way of seeing. On the top panel, Ummi boldly offers a dream of a beautiful future for her family, even though the bottom panel shows a complex situation full of expectations of her extended family at this time. The panel divisions in this work allow us to discover the position of the artist and the emotions she expresses. In the end, perhaps a room for reflection on the reality that we face today will be born. It could be that the figure in the painting is not only a representation of the artist but our own life.

As a young artist, Ummi continues to develop by seeing the works of artists of her age as well. She does not want to be trapped in inspiration to work in an era, in the references or symbols that are raised. She observes and incorporates symbols of popular culture in her work. “Good Neighbor” is a work that depicts the nuances of a party celebration attended by neighbors around the house. This painting is like a cultural bank that is currently popular. There are minimalist home forms that are dreams of young people today, complete with cars in every home. For me, this painting captures a desire for an establishment that is currently hotly discussed by young people regarding ownership of housing and broader rights to accessibility in the form of private vehicles. In addition, the forms of popular objects are deconstructed with patterns in the objects, for example, objects of trees and various plants with colors that are completely different from the original plus the motifs which make these objects become popular culture icons on candy or ice cream fun packaging. This aesthetic execution decision makes this piece visually memorable.

Seeing this painting, I tried to ask the same question when trying to find Waldo that I told Ummi at the beginning of this paper. "Where is Ummi's position in this painting?", Surprisingly Ummi could easily show it to me. On the right and in the middle there is a bed object in the middle of the garden on which a man and a woman have just woken up. That's where she is. This greatly enriches the popular nuances it offers. As a young couple who live in urban areas, another big challenge after marriage is to fulfill social responsibility in society, the simplest thing is neighborliness. Often, many young couples are still preoccupied with their own world, their own bed, their own domestic affairs and don’t think that other people’s lives are as important. In fact, the collective culture in society is also good for developing locality because that is what can later form the identity of a nation.

Ummi thinks of color and shape simultaneously in her aesthetic process, in my opinion, this is a step that can be said to be contemporary because she can think of different efforts besides incorporating color into forms. Ummi jointly incorporates color and shape in creating an image. The balanced ratio of hot and cold colors makes her paintings as endless as a harmonious and melodious parade. I predict, someone with synesthesia skills will be able to hear the sound of her works, such as a musical group playing songs of joyful marching, the applause of wedding guests, plates and glasses clashing with the clatter of water in the sink, as well as the sound of a party with the neighbors in the neighborhood.

The hot and cold colors she chose were implemented with the same zeal as Henri Matisse in the fauvism movement of the 1905-1908 era. Initially, this word was used by a critic of Louis Vauxcelles who was shocked by the wildness of the group of young painters exhibiting at the Salon d’Automne, calling the exhibition the Sage des Fauves, a cage of wild animals. Fauvism, which was originally an insult, was adopted as a big movement that rejected works with established and safe colors at that time. This spirit of rejecting realistic colors and shapes was brought in by Ummi’s aesthetic process to offer new ideals in deconstructing a reality that was already established in society.

References from contemporary fauvism artists such as Nicolas Party (Switzerland b. 1980) and Diela Maharani (Indonesia b.1983) also strongly influenced Ummi in arranging shapes and colors, but of course, the visuals were different. Nicolas Party is strong with formal, deformative forms and flat, Diela Maharani with her exploration of patterns, there is almost every form, but Ummi found her visual uniqueness by offering simpler forms and harmonious hot and cold colors. Ummi has worked on fauvist colors with decorative pop-pattern nuances using a technique she has mastered for years with acrylic paint on canvas, namely the opaque technique. This technique is a blocking technique that covers an area of the image with paint evenly and is thick and not transparent. Artistic attempts to arrange basic shapes and colors over and over again in various compositions with this technique allowed her to achieve balance and rhythm in her paintings. Although Ummi did not express much of her restlessness or emotions in real terms, pursuing a balance of patterns, rhythmic regularity, and details contained in forms gave satisfaction in her work activities. When you feel that the realized forms and patterns are balanced and visually pleasing, then Ummi will tend to feel satisfied, honest, and finished with feelings of restlessness. This formalist step was a step he took to achieve an orderly and controlled expression as an artist.

All the tensions in a marriage that Ummi feels are filled with new wishes, dreams, and hopes for a happy marriage in the context of the times. To me, she told me how she longed for a wedding culture that returned to its essence without the excitement of the festivities that sounded expensive and consumptive. It also offers a collective life without the toxicity of the whispers of neighbors, but a healthy social life. She also expressed the importance of the private sphere of household life in a media that is both transparent and destructive. She offers an idea of the importance of equality with a partner for a happier and more empowered relationship. In her works, she reveals how much she longs for the belief as a wife and female artist who is capable of empowering the art path she has chosen.