Indonesian Heri Dono's varied career of paintings, happenings and installations draws upon the indigenous art forms of his country - from Sumatra to Irian Jaya - interweaving them with Javanese traditions and a contemporary Western aesthetic. In a country where only painting qualifies as legitimate art, Dono regularly aggravates boundaries between art forms and between media.

His work satirises political and social realities in his local community of Yogakarta, in greater Indonesia, and in the underdeveloped and developing culture of the world. Dono is most concerned with the artist's connection to society, the political atmosphere in Indonesia and the lot of everyday people marginalised by modernism and Western-faced materialism in South East Asia. Playing the bricoloeur, he combines these and other issues with an array of traditions, artistic disciplines and community voices. In high demand internationally, Dono has been seen at the first Asia Pacfic Triennial and the tenth Sydney Biennale.