To Djirna, on the opposite, the Woman is a symbolic archetype: the Woman as mother. Her shape, round, conjures up the theme of the egg and, ipso-facto, of fertility, found also in the way she wraps her child in an oval composition. Djirna's positive image of the Woman, however, changes as soon as she gives up her function as Mother. In a crowd, she stops being unique: she becomes a plurality of women exposed to sin and defilement, and/or threatened by modernity. To the state of balance symbolized in motherhood and fertility thus succeeds a state of disorder and evil, of which women are both victims and carriers. Their representation automatically changes. Their figures become thin and outlandish, when not frankly monstrous. Minions and ghostly animals appear in their back. Until eventually the witch shows up: The lord of black magic, the dark bloodsucker, is a Woman.

Apart from the mature artists discussed above, a new crop of young painter is now coming up. Some, like have evolved a local version of abstractexpressionism: Sumadiyasa, Susena, Supena, Mangu Putra, Sukari, sometimes with hidden references to Balinese symbols. Following Jirna's example, some painters are giving a new, psychological dimension to their work: Suklu, Setem, while other are emphasizing the social aspect: Duatmika. Interesting, and exceptionally rich in color is also the genre created by Mangu Putra: paintings of landscapes that may be read either in an abstract or in a hyper-realistic way. Last but not least one should also mention the case of one of the new stars of Indonesia contemporary art: Murniasih. This self-taught Balinese woman artist let her imagination literally explode in a flurry of erotic and/or surrealistic scenes.