Singapore's STPI has published an extensive conversation with Indonesian artist Eko Nugroho, closing the chapter on his second residency at the print and paper workshop. His exhibition STRANGE MONSTER VIEW, on view from 22 August to 10 October 2026, translated his graphic language of masked figures and mutant creatures into print, while spilling beyond the gallery onto STPI's own façade — used as a canvas for the first time — and into Fort Canning MRT station, carrying his imagery into the daily commute. The interview traces Nugroho's beginnings to a photocopier in 2000, when he launched the comic imprint Daging Tumbuh alongside other artists. Built on copyleft principles, the zine mashed up pop culture and underground scenes without censorship, and its masked characters — shaped by comics, anime and artists such as R. Crumb and Moebius — became the defining symbol of his practice, standing for concealment, protection and performance. Emerging from Indonesia's Reformasi era after 1998, he turned those masks and irreverent one-liners into a playful critique of politics and society. What distinguishes the conversation is its attention to Nugroho's parallel life as a builder of artistic infrastructure. In 2009 he founded Versus Project, an independent platform giving emerging artists month-long exhibitions; in 2015 he started an art class for children, developed with educators and young artists to fill gaps in Indonesia's schooling. He describes community-based work — painting in public spaces, collaborating with artisans, waste collectors and embroiderers — as indispensable to his practice, generating dialogue that a solitary studio routine cannot produce. On printmaking itself, Nugroho explains that paper was his earliest medium, cheaper than canvas during his student years, and that the STPI residency pushed him further: handmade papermaking and techniques he had not encountered elsewhere left him feeling the stay was too short to exhaust them. The portrait that emerges is of an artist moving between local roots in Yogyakarta and a global stage, while insisting that art's political charge comes from the values the artist holds rather than from how the market positions the work.