ch+ch art is pleased to present As I Lay With My Head in Your Lap, Camerado, a solo exhibition by S. Urubingwaru (b. 2000), an artist, researcher, and writer based in Indonesia. The exhibition title is drawn from a poem by Walt Whitman, evoking a state of intimacy and shared consciousness. This gesture of leaning into another, where boundaries between self and other begin to dissolve, resonates with Urubingwaru’s ongoing exploration of the unstable relationship between memory, fiction, and reality.

Urubingwaru’s practice unfolds at the intersection of visual art and literature, drawing on narrative strategies associated with magical realism. His work examines how meaning is constructed through perception and recollection, proposing that reality is not fixed but continuously shaped through subjective experience. Memory operates as a mutable medium, capable of distortion, revision, and reconstruction rather than faithful preservation.

The works presented in this exhibition emerge from this ongoing investigation. Urubingwaru describes reality as formless and in constant flux, taking shape only through processes of interpretation. Situated between presence and absence, the paintings revisit fragments of the past, allowing what has been obscured or forgotten to reappear in altered form. In Norwegian Wood (2026) and Paradise Cabin (2026), interior and psychological space collapse into one another, suspending distinctions between past and present.

Central to this body of work is the figure of Mr. Harry, a fictional yet psychologically grounded presence that developed through the artist’s engagement with the music and persona of Haruomi Hosono, a Japanese musician. Mr. Harry emerges as a double that reflects its source while maintaining an independent presence within the artist’s consciousness. This logic of doubling extends into works such as Two Voices (2026), where figures appear split, mirrored, or emotionally dislocated.

Functioning as both collaborator and conceptual framework, Mr. Harry operates as an externalized system of memory through which experiences can be stored, retrieved, and reinterpreted. At times playful and disruptive, at others analytical and guiding, this figure complicates distinctions between internal thought and external reality. This tension is further reflected in PILGRIM — To The City of Unknown Memories (2023–2024), where narrative fragments unfold as both personal mythology and constructed fiction.

Through this exhibition, Urubingwaru proposes reality as an evolving construct, continuously rewritten through acts of remembering, forgetting, and reinterpretation.