February 26, 2021

// bodies in space //

// my last performance of Exquisite Corpus with D.O.U.G._4 //

I sometimes wonder what the next performance will be like, after a year of lockdown. Exquisite Corpus was the first time I brought in biometric data into the work. my heart rate and brainwave data were linked to the surrounding visual environment at various stages. Electromagnetic field recordings from D.O.U.G._4 were included in the score as well. An exploration of human and machine gestures, and bodies, in collaboration. On view.

I wonder if it would feel different after these waves of pandemic distancing?

February 19, 2021

// drawing installations 2011 //

People sometimes ask me how drawing with D.O.U.G. has changed my process.

Here's and image of me preparing some installation drawings (#chiaro_oscuro) from a decade ago. Breaking out from software into gesture, back to drawing, space and tactile form felt revelatory then; more real than what I could make on screen. Craving the materiality of paper, and maybe the finality if it too.

The encounter with the machine other, a non-human responsive drawing unit I develop with code, data, and time.. that is an exercise in navigating uncertainty, fumbling with error states, imperfections, and sometimes existential horror. I think that's what keeps it interesting though.

It's been 10 years and many experiences, robots, and apparently a global catastrophe in-between then and now, but I think the cravings, the resonance with the tactile, gestural and spatial is the same.

// Does it have to exist in the world to be real? //


January 28, 2021

// Relation vs Interaction //

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".

January 18, 2021

// SECOND NATURE: Relation / Repetition //


"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."


January 14, 2021

grasping the organic / daydreaming new natures


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
" 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?"

January 4, 2021

Indeterminacy Scores

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.

January 3, 2021

Biometric Flora

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

December 28, 2020

// drawing in lockdown //

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

December 21, 2020


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.

December 16, 2020

Orchid Formations

witness & unfurl -- terrestrial microbial worlds -- ( shelter-in-place ) // // petal pirouette --wild / life // / orchid formations embedded in air / . #artstudio #wildlife #drawing #ecologiesofbecomingwith #mixedreality #virtualreality #augmentedreality #orchidformation




— Sougwen 愫君 Chung is a

Chinese-born, Canadian-raised 

artist & (re)searcher 

based in New York.

— Sougwen 愫君 Chung is a Chinese-born, Canadian-raised artist & (re)searcher based in New York.

— Sougwen 愫君 Chung is a Chinese-born, Canadian-raised artist & (re)searcher based in New York.

— Sougwen 愫君 Chung is a Chinese-born, Canadian-raised artist & (re)searcher based in New York.




Copyright Sougwen Chung