Fellowship x @artxcode_io are proud to present: RECURSIONS 遞迴 → A solo exhibition of new works by @sougwen at @ArtBasel Hong Kong 2026, the artist’s first solo booth at the fair. VIP Opening: March 25, 2026 On view: March 26–29, 2026 ↓ Full details below

→ About the artist: Sougwen 愫君 Chung (b. 1985) is a Chinese-Canadian artist and researcher, widely regarded as a pioneer in human–machine collaboration. Their work MEMORY (Drawing Operations Unit: Generation_2) is part of the permanent collection of the Victoria and Albert Museum, becoming the first AI model collected by a major cultural institution. Chung’s multidisciplinary practice spans installation, drawing, performance, and sculpture in dialogue with robotics, machine learning, and bio-sensing. Since 2015, they have developed the Drawing Operations series, a landmark inquiry into the aesthetics of symbiosis between human and machine. Named one of TIME’s 100 Most Influential People in AI and honored with its Global Impact Award, Chung is the founder of SCILICET, an experimental studio based in London. 🔗 Full biography →

→ About the collection: Marking a pivotal expansion from live performance into painting, RECURSIONS brings together drawing, painting, robotics, and light-based installation to ask where gesture begins when it is no longer authored by a single hand, but emerges through feedback between human and machine.

At the center of the presentation is RECURSION 0 (2026), a monumental scroll. A kinetic robotic system, trained on decades of Chung’s gestural data and responsive biosensor input, extends and echoes the artist’s movements across linen, a surface of accumulation recording the recursive exchange between embodied intention and machinic response in real time.

Six related paintings, RECURSION 1–6 (2026), distill this durational process into discrete iterations. Where the scroll enacts duration, the paintings hold it: mark-making accumulates without hierarchy, and what remains is not a distinction between origin and echo, but a single layered surface in which both are present.

RECURSION Dataset 1314 transposes the investigation of gesture into light. The dataset comprises 1,314 drawings, invoking the Chinese homophone 一三一四 ("one three one four"), which sounds like 一生一世 ("for a lifetime”), speaking to the devotional commitment of artistic practice. Three decades of the artist's drawing data, the last ten co-produced with the D.O.U.G. robotic system, cycle across a suspended LED mesh. The traces shift in real time as accumulated attention, registered through brainwave activity, is compressed into luminous, slowly evolving forms. The work proposes attention as duration: sustained, and made visible.

Together, the works extend Chung’s ongoing investigation into what the artist terms Operational Art: a framework for protocols, ethics, and conditions of co-creation between human, machine, and environment. Here, collaboration evolves beyond method toward an ecology in which agency is distributed and coexistence becomes indistinguishable from authorship.