MAY - OCTOBER
Mutations of Presence, Re: Memory, Sørlandets Kunstmuseum, Norway, 2020
AUGUST - DECEMBER
Flora Rearing Agricultural Network, In the Name of Flower, Pearl Art Museum, Shanghai, 2020
SEPTEMBER
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Building interactions implies sovereignty, detachments disguised as world-building-- God-mode.
vs Building (inter)Relation. Implies inclusion, " I" is situated within the relation.
Dynamics of relations -- equitable relationships, requires trust and necessitates attachment, recognition, collaboration. "I" invests in "we".
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"This flood of convergences, publishing itself in the guise of the commonplace. No longer is the latter an accepted generality, suitable and dull no longer is it deceptively obvious, exploiting common sense-it is, rather, all that is relentlessly and endlessly reiterated by these encounters. On every side the idea is being relayed. When you awaken an observation, a certainty, a hope, they are already struggling somewhere, elsewhere, in another form.
Repetition, moreover, is an acknowledged form of conscious ness both here and elsewhere. Relentlessly resuming something you have already said. Consenting to an infinitesimal momentum, an addition perhaps unnoticed that stubbornly persists in your knowledge.
The difficulty: to keep this growing pile of common places from ending up as dispirited grumbling-may art provide! The probability: that you come to the bottom of all confluences to mark more strongly your inspirations."
#poeticsofrelation#edouardglissant#ecologiesofbecomingwith#wildlife#augmentedreality#virtualperformance#virtualreality#bihua#iching
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¹ Still from a private performance in a Mexican jungle
² grasping SECOND NATURE, AR experiments in Lockdown
³ drawing a memory
⁴ excerpt from Anna Anlin Cheng's Ornamentalism
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" What happens to our notions of the subject when carnality is cultivated not out of flesh but from its fusion with inorganic matter? What happens when we accept that style, mediated through yet detached from a racial referent, may not be simply the excess or the opposite of ontology but may in fact be a precondition for embodiment, an insight that challenges the very foundation of the category of the human?"
“Science transforms its languages; Poetry invents its tongues.”
Thank you to Falling Walls for the award of winner in the category of Science in the Arts for my contributions to the field of Art + Research practice.
I’d like to dedicate the award to my parents, who taught me about hybridity through example. My mother’s technical mindedness as a computer programmer and my father’s musical and artistic sensibilities as an opera singer, showed me the complementary possibilities of both ways of approaching the world.
Hybridity rejects false binaries. I believe that by engaging practices that ~ connect ~ scientific and cultural fields, we’re able to better adapt to the rapidly changing conditions of living on an interconnected, damaged planet. And hopefully change it for the better.
While developing my own art and research practice for the past decade, I’ve seen the value of moving beyond the seeming contradictions of science in the arts; of seeing them as obstacles, But instead as unique sites for invention, growth, and transformation.
Thank you again to Falling Walls for this recognition. I’m looking forward to sharing much more of this continuing journey with you all this coming year.
feat. Drawing Operations (robotic) Unit, Generation 4
Paintings as sound compositions
Referencing John Cage's Fontina Mix, 1958, a provocation for "musical scores of indeterminacy", these experiments were created in collaboration with D.O.U.G._4, with contact mics recording real-time sound feedback on canvas.
Intertwining my meditation and art practice. They're both simple interventions that shape my days -- alternating between varying states of flow, alternatives to the addiction to control, reliance on certainty
I used to draw differently.
My approach to drawing and machine learning, data, and robotics started as a way to evolve my drawing ability by designing artificial intelligence systems, to explore collaboration with a robotic unit.
Since the pandemic, my focus has been on the possibilities of robots as a medium of collective collaboration, communication and connection.
Especially true this year, the necessity of inventing processes of adapting to circumstances such as these, with drawing as current and ground.
I'll be publishing more experiments, sketches and writing in the coming year. Sougwen.com/sketches
When developing virtual performances, I started by translating all the physical components of my on-site set-up digitally, modelling the frame, the stage, the environment, until I realized none of those physical constraints mattered.
Even gravity, basic physics, could be reversed with a single parameter.
When I started to realize that... then came the fun part.
Learning shelter, communal thinking, escapist magical realism
// mycelial machinations -- wild / life //
witness & unfurl -- terrestrial microbial worlds -- ( shelter-in-place ) //
Music by @a_q_u_a_r_i_a_n
// mycelium electron microscopy //
// Exploration vs deprivation //
Cognitive bias as sensory deprivation, a form of sense-making based on reduction.
Art-making as developing what I think and feel before there are words to articulate it, a form of world-building built on sensory exploration.
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#weirdplants#artstudio#wildlife#drawing#plantsofinstagram#ecologiesofbecomingwith#mixedreality#virtualreality#augmentedreality#orchidformation
