myra salsabila alwi/



Myra is a very proud Indonesian Graphic Designer who graduated from Architecture. Driven by social justice and the belief that every struggle is interconnected, their practices polarize between commercial works ranging from social media and advertising, set design, and community-based participatory design workshops. In between designing, they occasionally teach about the visual arts and write about cultural phenomena.


Instagram
Substack

CONTACT
CV
Education
Universitas Katholik Parahyangan (2020)
Bachelor's in Architecture
Graduated with Merit

Central Saint Martins, University of the Arts London (2026)
MA Graphic Communication Design


Employment Student Ambassador
Central Saint Martins, University of the Arts London
2025 - present

Senior Graphic Designer
EduALL (Higher Education Consultant)
2021 - 2024

Merchandise Designer
Icaarrus Studio
2022 - 2024

OPPO Product Launch Video
Set Designer
2023

Grab TV Commercial Video
Set Designer
2022

Selekta Creative
Part-Time Art Director
2020-2022

Graphic Designer
Giraffic Design Agency
2020-2021

highlights! Magazine (Issue: Virtual Identity)
Managing Editor
2019

highlights! Magazine
(Issue: Gender)
Managing Editor
2018

Parahyangan Project Music Festival
Co-coordinator of Design, Documentation, and Publication
2018

TOSAYA Community Empowerment Program
Co-coordinator of Design, Documentation, and Publication
2018



Published Essays & ResearchDreams Beyond Precious Ruins article on GCD Studio

Best of Both Worlds on Unknown Quantities Journal

The Cinematic Qualities of Metropole Cinema


Skills
Art direction
Graphic design
Illustration
Set design
Adobe Creative Suite
Microsoft Office
Figma
SketchUp
Printmaking (cyanotype, screenprinting, risograph)





Last Updated 24.10.31


Dreams Beyond Precious Ruins


















Visit the website By design, we view history through artifacts archived and presented by the government that we consider to be the truth. But when we challenge the truth by asking who is archiving these artefacts and what they stand for, prejudice and political agendas become clearly visible behind museum display glass cases. What are they showing us? Why are those things being shown? What is not being shown?
These questions hang heavy over my research about how women’s lives have evolved from 1925 to 2025. When I realized that it was not my inability as a researcher that hindered my search, but rather the failure of archiving institutions in Indonesia to provide an accessible archive of women’s lives.
So, we have fragments of clues instead of a full story. Traces of women in photographs, letters, movies, and even advertisements provide clues into what kind of life women in Indonesia used to live. In Ephemera As Evidence, José Esteban Muñoz introduces the concept of ephemeral evidence, using traces of something that transpired as enough evidence to explore out-of-the-box identities.





Jo March’s Monologue
 This project intends to translate the emotions conveyed by Saoirse Ronan’s performance of Jo March in the movie Little Women, directed by Greta Gerwig (2019). The monologue has an interesting contrast between the intensity of the emotions and the actual volume of her voice as she spoke. It held a lot of weight, yet was delivered with a soft voice. I wanted to capture that feeling in a publication filled with only text. Using typography to convey these feelings of intensity. The format of a long concertina is used to invoke a sense of overwhelm within the reader, having the publication spill, and being unable to hold it, just like how Jo March was unable to hold all of these feelings in.



Girls Talking
An ongoing project building on the enquiry of why ordinary women of Indonesia (and turns out, most of the world) are so scarcely documented in conventional museum archives. This project utilizes participatory design, inviting women to archive their wisdom and lived experience. This project relies heavily on visual languages that are mostly seen as kitschy and girly, like collaging and doodling.



Productivity and Labor
(in collaboration with Cecilia Lin and Stella Jang)
Starting with conversations about what is considered productive in a capitalistic setting, 





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