“[Chung] comes from drawing, after which they begin to work with AI, however not like we’ve seen on this generative AI motion the place it’s all about producing pictures on display screen,” says Sofian Audry, an artist and scholar on the College of Quebec in Montreal, who research the relationships that artists set up with machines of their work. “[Chung is] actually into this concept of efficiency. In order that they’re turning their drawing strategy right into a performative strategy the place issues occur reside.”
Audiences watch as Chung works alongside or surrounded by robots, human and machine drawing concurrently.
The paintings, Chung says, emerges not simply within the completed piece however in all of the messy in-betweens. “My aim,” they clarify, “isn’t to interchange conventional strategies however to deepen and develop them, permitting artwork to come up from a real assembly of human and machine views.” Such a gathering came about in January 2025 on the World Financial Discussion board in Davos, Switzerland, the place Chung introduced Spectral, a performative artwork set up that includes portray by robotic arms whose motions are guided by AI that mixes information from earlier works with real-time enter from an electroencephalogram.
“My alpha state drives the robotic’s conduct, translating an inner expertise into tangible, spatial gestures,” says Chung, referring to mind exercise related to being quiet and relaxed. Works like Spectral, they are saying, present how AI can transfer past being simply a creative instrument—or menace—to turn out to be a collaborator.
COURTESY OF THE ARTIST
By AI, says Chung, robots can carry out in surprising methods. Creating artwork in actual time permits these surprises to turn out to be a part of the method: “Dwell efficiency is an important element of my work. It creates a real-time relationship between me, the machine, and an viewers, permitting everybody to witness the system’s unpredictabilities and inventive prospects.”
Chung grew up in Canada, the kid of immigrants from Hong Kong. Their father was a skilled opera singer, their mother a pc programmer. Rising up, Chung performed a number of musical devices, and the household was among the many first on the block to have a pc. “I used to be raised talking each the language of music and the language of code,” they are saying. The web provided limitless prospects: “I used to be captivated by what I noticed as a nascent, optimistic frontier.”
Their early works, principally ink drawings on paper, tended to be sprawling, summary explosions of type and line. However more and more, Chung started to embrace efficiency. Then in 2015, at 29, after learning visible and interactive artwork in faculty and graduate faculty, they joined the MIT Media Lab as a analysis fellow. “I used to be impressed by … the concept that the robotic type might be something—a sculptural embodied interplay,” they are saying.
COURTESY OF THE ARTIST
Chung discovered open-source plans on-line and assembled a robotic arm that would maintain its personal pencil or paintbrush. They added an overhead digicam and laptop imaginative and prescient software program that would analyze the video stream of Chung drawing after which inform the arm the place to make its marks to repeat Chung’s work. The robotic was named Drawing Operations Unit: Technology 1, or DOUG 1.
The aim was mimicry: Because the artist drew, the arm copied. Besides it didn’t work out that manner. The arm, unpredictably, made small errant actions, creating sketches that had been just like Chung’s—however not equivalent. These “errors” turned a part of the artistic course of. “Probably the most transformative classes I’ve discovered is to ‘poeticize error,’” Chung says. “That mindset has given me an actual sense of resilience, as a result of I’m now not afraid of failing; I belief that the failures themselves could be generative.”
