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Big Up Magazine: “The mysterious world of intricate and fluid images created by Sougwen might seem abstract at first, but the more time you spend in this mini universe the more familiar it becomes. You begin to recognize certain feelings you thought you have forgotten, certain sounds you’ve always wanted to hear, and certain images you deeply kept in your memory.

Sougwen’s musical upbringing bridged with her fascination with imagery makes her association with the conceptual record label Ghostly only logical. Spearheading Sepalcure’s new A/V live show is a step forward in Sougwen’s ever evolving exploration of image and sound.”

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Publication: Big Up Magazine / purchase
Date: March 2012
Interviewer: Katya Guseva

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In your a/v work for Sepalcure you’ve brilliantly created this virtual reality. Can we safely say that it’s Sougwenland, a space personal to you, or is it something you’ve created based on Sepalcure music to fit in with their sound?

Thank you. It’s always gratifying to hear a positive response to the work — especially recently-debuted material.

In order to evolve my work I’ve been experimenting with new processes, integrating 3d and other mediums, for example. I’ve titled these experimental works as a series “Étude Opus 2.” Prints will soon be available on the Ghostly store. From the Études, I’ve selected numbers within the opus that fit visually into the world of Sepalcure.

The three of us regard Sepalcure as more of an art project, something that isn’t defined solely by music, but rather the aspiration of art collaborative. The name Sepalcure came from a piece I made in 2008. Both the meaning of the word and the piece itself were born from the heightened emotional state of coping with a loss. The circumstances surrounding the emergence of the music shared parallels with both. Needless to say, when we debuted the audio-visual show last year at A/Visions at Mutek Mexico, it felt like the next big step in a really natural evolution of the project. I suppose that’s a roundabout way of answering the question —

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Music seems to be a huge influence on your artwork. Do you think you’d create different artwork if you listened to other genres of music?

Music and sound definitely plays a role in my work to date. I have a varied upbringing in music which informs my creative process in myriad ways. My father was an opera singer in his youth — I recall his putting on Wagner in the house as a child and my brother being asked what we “saw” in the music, after which we would compare the differences between our visual interpretations of the musical piece. (Kind of a strange childhood in retrospect, I’m aware.) Between that and being classically trained in violin and piano from a young age, I could express myself holding a bow and and the neck of a violin, for example, long before I could ever utilize a drawing implement with any creative satisfaction.

As far as the influence my musical taste has on my visual work now, they tend to be all over the map with a predilection for textural, darker motifs and material.

I’ve made a habit of seeking fresh sounds and perspectives within music and listening to new genres, however, my visual work isn’t consciously influenced by my playlist at any given time. As I’ve become more aware of what interests me artistically, I’ve shifted my focus away from individual musicians and genres into a broader exploration of the interplay of mark-making / composing and abstract sound / image.

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There are lots of visual references to particles, fractals etc.. Where is this fascination came from?

My infatuation with generative visuals coincided with the first breaths of what would become my drawing style. The use of code to create visual rhythm, syncopation, and composition piqued a sense of wonder that has remained ever since. I didn’t have the coding ability at the time so I used the tools at my disposal, which were ironically as literally prehistoric as could be (minus the caves). I suppose I arrive at illustration in a sort of backwards way — the medium was just a readily available means to expressing a procedural desire.

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B: How has the Sepalcure A/V show been accepted on tour? Are you planning on expanding the show and touring with Sepalcure or other music acts in the future?

We just completed a Mini EU A/V Tour a few weeks ago — it was such a blast. The energy of the crowd at the shows was exhilarating. We’ve been excited to bring the A/V show to the EU fans for months and were met with positive responses at all the shows, which will definitely inspire the creation of forthcoming iterations of the show moving forward. In addition to the performance itself, it’s been a pleasure touring with Travis and Praveen, and meeting up with our friends along the way (shoutouts to Xi, George Fitzgerald, Scuba, Sigha).

We will be performing the A/V show in Taico Club in Japan in June. We’re pretty excited.

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You create lots of monochromatic images. Why such a choice in color? – Do you think black and white images have a stronger impact than color? Do you prefer one to another?

As a result of my fascination with line, mark-making and form, I am enamoured with innate qualities of mono-chromatic palette. In my opinion, it seems to reveal the form in the image with the least amount of distraction, while celebrating its contrasts… evoking this sense of austerity and aesthetic timelessness that really resonates with me. Pure chiaroscuro, interplay of light and dark, true and false…

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There’s certain fluidity in your drawings, that would suit perfectly for fashion design. Did it ever interest you?

Initially, no, but I’m open to the idea if I come across the right project.

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Best live music show you’ve seen to date?

Recently? Anti-VJ and Murcof played after us during A/Visions at Mutek Mexico and I was in awe. If you haven’t seen it, I highly recommend checking out their show.

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How do you know when a piece is finished?

I’m actually not so concerned with completion in my work. Of course there is the notion of the right stopping point, but that’s different than being finished. The embrace of indeterminacy is fundamental to the conceptual nature of drawing as an art form, whether or not graphite and paper is utilized. That can be a fairly liberating and poignant notion, depending on your point of view.

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If you were a crazy scientist, what would you invent?

A holodeck. A crazy one.

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Best cheap meal in BK?

Samurai Mama in BK. Cocoron in LES in the city.

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Top played song in your iTunes.

The Work Of Art in the Age of Cultural Overproduction – Tim Hecker

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Atomica Magazine: Could you explain your technique and aesthetic?
Sougwen: My work to-date has been informed by investigations into drawing processes.

AM: What exactly is “mark-making”?
§: An atomic unit of drawing.

AM:Do you consider yourself a formalist or an emotionalist? 
§: No.

AM: What inspires you for a certain piece, or is it more spontaneity and current mood than anything else?
§: It depends on the piece. The drawing videos are inspired by music and environment.

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AM: How did you first get into the live drawing and what for?
§: I first began live drawing when directors Josh and Jonathan Baker of Rabbit Content (http://www.rabbitcontent.com/) approached me to record my drawing process. The performance played alongside a roster of other New York artists in a playlist of music and video.

AM: What special skills must an art director possess/what does it take to become one?
§: It’s pretty easy to acquire the role of art director, becoming one is a lot harder.

AM: What is something that you like and dislike about the art world? 
§: The commercial art world? I dislike that it’s commercial. At least for now. I resonate more with artist/researchers, which is sometimes overtaken by the inefficacy of academia, but thankfully not always.

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AM: As a young artist, do you foresee any emerging movements?
§: Yes.

AM: Looking back, how has your style shaped itself into what it is today?
§: Experimentation, examination, collaboration.

AM: Any upcoming projects or ambitions you might want to share?
§: You can follow my projects at my website (www.sougwen.com), and some other pablum on twitter (@sougwen) or facebook (/sougwen)

A few weeks ago, I had the pleasure of participating in a Visual Music Collaborative with 10 other programmers/artists at Eyebeam Art + Technology Centre and Ghostly International in New York. A rare opportunity to work with and alongside such a dedicated and inspiring group. The week culminated in a closed exhibition of our applications during the week to a small audience of Eyebeam / Ghostly friends and family.
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- Aaron Meyers, Aaron Koblin, Steve Varga, me, Riley Harmon, Jono Brandel, Michael Chang, Lars Berg, Noah Keating, Blair Neal, Peter Kirn, Will Calcutt, Haig Papaghanian, Miguel Senquiz, George Michael Brower, Evan Boehm.
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Thanks to PSFK for featuring the workshop, Eyebeam and Ghostly for making it happen, and all the collaborators for their hard work and good company during the week.
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Visual Music Collaborative 2010 from Aaron Meyers on Vimeo.

Photos by Will Calcutt

Capsule Volume 01 features Love Letters, SepalCure, and Fleurette-de-Lis in Volume One of their showcase.

From their website…
Capsule is a limited edition series of archival art books showcasing a diverse selection of contemporary artists and illustrators. Volume one in this collectible catalogue of ideas and inspiration features the work of ten international contributors. A melting pot of styles and techniques from a variety of visual practices and creative backgrounds.

Featuring…

DUSTER
GREGORY EUCLIDE
IMAONE
MEGGS
ERIK K SKODVIN (Miasmah)
OPENMIND
PANDAYOGHURT
SOUGWEN
ALEX YOUNG
ZACH JOHNSON (Zenvironments)

A5 (148 mm × 210 mm)
300gsm Matte laminate cover
80 high quality silk pages
PUR bound for long life and durability
Limitation: 3000 copies for sale

Buy Now