Recipient of the Liquid Architecture Prize.



My practice is interdisciplinary and includes audio-visual media, performance, installation, and publication. Conceptually, my creative work is focused on critical discourses around white supremacy in gay culture, which forms via exaggeration and appropriation in my artworks. Brutalist architecture, industrial design, audio-visual remnants of the 1980s and 1990s, and the underground rave scene have become paramount influences in my practice.   

My project elaborates on the tendencies of gay Asian men to promote and reinforce white supremacist ideologies through a process of fetishising white homosexual men, while simultaneously projecting sexual discrimination onto other gay, Asian men.  

Through its many elements, each installation ranges across the sensitivities of this subject in a humorous and jarring fashion. Developed from method acting, throughout the production period of this work, I performed an alter-ego character named Chin-Kee Chong. The character Chin-Kee Chong was devised as an internally racist, white validation-seeking gay Asian man who fetishises white men and hyper-fetishises himself for the white gay male gaze. This exaggeration of this character problematises the worship of white men by gay Asian men.  

Within this work, I leave the audience to interpret what is being commented on—is it gay Asian men upholding white ideals or gay white men’s pride in their beneficial proximity to white supremacy, or am I being self-criticality and hypocritically complicit in the mainstream gay culture where everyone is primed to worship male whiteness? 


an image of the 'miscegenasian' project in a gallery, containing two projections, a trestle table, two videos on CRT televisions, steel beams on the ground, and a sign that reads 'No Asians Allowed Unless Accompanied By White Men'.
Indra Liusuari, you want happy ending, sir?, 2022, 2-channel video projections, 11m 33s.


An image of an A2 signboard in red with a yellow text that reads "No Asians Allowed Unless Accompanied By White Men" on two steel beams with writings in red. An amyl nitrite bottle is taped onto the left steel bar.
Indra Liusuari, an honest darkroom entry sign, 2022, computer-rendered print on archival paper, galvanised steel, polyethylene film over cloth scrim, 30ml amyl nitrite bottle.


An image of a CRT television on four concrete bricks next to a rectangular steel structure with A5 print works on the surface in a room with white walls, exposed ceilings, and concrete floor.
Indra Liusuari, interrogaysian [installation view – Monash University], 2022, 7m 38s video on CRT television, concrete, galvanised steel, boxboard, computer-rendered prints on 80 gsm paper, ink.


A detail image of the A5 printworks of the 'interrogaysian' work.
Indra Liusuari, interrogaysian [installation detail], 2022.


An image of the 'cumdumpling' work that has a container with seven pods each containing semen-like liquid under a strip light on a reflective surface on a metal sawhorse.
Indra Liusuari, cumdumpling, 2022, steel, poly(methyl methacrylate), computer-rendered print on 80 gsm paper, polypropolene sheet, LED work light, unidentified liquid.


A detail image of the 'cumdumpling' work that has a container with seven pods each containing semen-like liquid under a strip light on a reflective surface.
Indra Liusuari, cumdumpling [detail], 2022.


An image of the 'unglorious worship booth' work that has a concrete monolith with a black strip in the middle and a CRT television playing the video work, both are sitting on a pedestal with a red tape running through the middle of it/
Indra Liusuari, unglorious worship booth, 2022, 3m 4s video on CRT television, plywood, acrylic paint, steel bars, construction adhesive, foam tape, concrete.

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Indra Liusuari