myra alwi/


about/
Instagram
Substack

Myra Salsabila Alwi 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.

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 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 & ResearchComing soon



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





Last Updated 24.10.31


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, dir. 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.




The Business of a Woman
 Coming across a category in the Harvard Digital Collection titled What Women Want to Know, it is almost instantly interesting to see how most of the entries are booklets that are released by brands trying to sell women something. Through a quick skim, I could see that most of them are cleaning products for housekeeping and cooking-related — either a cookbook or selling “modern” kitchen appliances. This reminded me of an old Indonesian saying that a woman’s business is only around the kitchen, the well, and the bed (dapur, sumur, kasur). Applying this Indonesian lens onto the American entries was interesting, especially how it highlights that outside of the three categories, there are booklets about craft, cosmetics, and even health.




We Just Want to Talk
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 and speculative history, and relies heavily on visual languages that are mostly seen as kitschy and girly, like collaging and doodling.




A Journey in Blue
In an attempt to master cyanotype (or at least know how to do it well enough to make prints) I explored posibilities of using cyanotype with a UV bed. I experimented with different exposure times on both paper and fabric. What came out of it is a guideline of exposure time with examples and an accompanying essay. I also explored double exposure method, working on the idea that cyanotype, like film photography, works by capturing light.




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





© CARGO TEST 2027