Fellowship and ARTXCODE present RECURSIONS 遞迴, a solo exhibition of new works by Sougwen Chung at Art Basel Hong Kong 2026 – the artist’s first solo booth at the fair. 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 centre 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.

TRACE 1314 (For a Lifetime) (2026) transposes the investigation into light. The title invokes the Chinese homophone 一三一四 (“one three one four”), which sounds like 一生一世 (“one lifetime”). Brainwave and drawing data cycle across a suspended LED mesh, shifting in real time as accumulated attention is compressed into luminous, slowly evolving forms – proposing attention as duration: compressed, 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.