The title Ida-Ida is a play on the name Ida, pronounced “Ee-da,” that appears in both Europe and Indonesia. In Bali, Ida denotes someone from the Brahmana priestly caste and means “highness.” While the Scandinavian name Ida comes from the Germanic word “id,” meaning “work” or “labour.”

Central to the project was the film The painter-tailor, which constructs a family portrait using 16mm film and HD video, collected by several family members, and centred in and around the courtyard of Spong's ancestral home in Sanur, Bali. The hook to which the film repeatedly returns is an untitled painting by the artist's grandfather, I Gusti Made Rundu, which hangs in one of the bedrooms. The narrative weaves a net made from the knots and loops of familial ties and everyday life, in which fragments relating to the effects of colonisation, invasion, and tourism are caught. The film was made using multiple viewpoints with the help of family members, including the family dog, Alaska, to explore the frame, what it captures, and what exceeds it.

The rest of the exhibition used the structure of the family compound depicted in the film as a guide to the installation. The interior family courtyard, the social centre of the home, was mimicked in the architecture of Spike Island, where the central room—the only space with direct daylight from overhead skylights—was used to install Spong's Untitled (orchestra) and host performances. 

Instrument E (Tina) (2019) is an instrument based on a gamelan bell tree. It was made in Bristol with the assistance of local bronze foundry Ore and Ingot. The set of bronze bells were made from different casts of Spong's cupped hands, giving each bell a different pitch. Instrument E was named after Tina Pihema, a friend and collaborator, who played the instrument for the first time on the opening night, together with her band Te Coolies.

For the sculpture Ida-Ida (2019), silk was hand-dyed in tea and Coca-Cola. The use of PG Tips to dye the silk was a nod to the building’s previous use as a tea-packing factory. Ida-Ida is the latest in a series of works inspired by “The Bloody Latte: Vampirism as Mass Movement” (2006), an essay by the American musician and writer Ian F. Svenonius. In the essay, Svenonius describes the movement of certain beverages across continents as acts of colonial bloodsucking, whereby colonisers develop a voracious taste for drinks derived from the produce of the lands and peoples they have colonised. 

The Death of Bohma notates three different metres found in the epic twelfth-century poem Bhomantaka, composed in Old Javanese by an unnamed author. The different rhythms of each section, which rest on the opposition of long (–) and short (U) sounds, create a dense pattern on the canvas. The three verses describe the death of Bohma, the scene depicted in the painting by I Gusti Made Rundu (1918–1993), which features in the film The painter-tailor. The canvas acts as both the score for a performance, and a threshold between two parts of the gallery.